Militant said:

BabyBeMine said:

Awesome job man and much appreciated. I was hoping Sony used Michaels vocals on this particular version.

So was I, although I do like the new version too. I'm gonna try and finish this over the next few days when I have a bit more free time, cos unless MJ's original version leaks any time soon, this will have to suffice.

I really wish they would release original versions of songs as well as remixes.

THANK YOU so much for that....I knew something was kind of off about that song. He sound like his young self over a recent beat...almost not fitting anywhere in a timeframe. I thought the original music was a little louder than his vocals, but I have some crappy headphones to listen to it on my computer, but I thought you did a damn good job!11

Michael and Celine

Céline Lavail first crossed Michael Jackson’s path in 1996 while the superstar was staying in Monte Carlo, but it was only two years later that Michael, particularly touched by one of her creations, commissioned a first piece for his private collection. This was the beginning of a collaboration that gave birth to several commissioned portraits of the star : "Peter Pan", "Inspiration", "Archangel", "Allegory" and "Scared of the Moon". "Mad Hatter", the very last piece produced for Michael Jackson that was meant to be delivered to him during the Summer of 2009 will be auctioned in early 2010 within the frame of "The Official Michael Jackson Opus" charity auctions. Most of the pieces that Céline Lavail created for Michael Jackson are featured in the luxurious publication "The Official Michael Jackson Opus" (Kraken Opus Ed.). The Opus features tributes to the star by those who new him best, worked with him and those inspired by his work including Reverend Jesse Jackson, Quincy Jones, Berry Gordy, Smokey Robinson, Shaquille O’Neal, Paula Abdul, John Landis, Sugar Ray Leonard, Jimmy Jam, Spike Lee, Teddy Riley, Jane Fonda and many more. "The Official Michael Jackson Opus" website : http://www.michaeljacksonopus.com The Official Michael Jackson Opus "I was only 17 years old when I first met Michael Jackson. It was 1996 and he was staying in Monte Carlo for a few days. I’d always been a fan of his music and I’d heard he was also a massive art lover. At that time I used to draw and sketch a lot as a hobby. My plan was to go to his hotel and give some of my pictures to his security staff in the hope that they would reach him in some way. When I got there with the pictures, the security guards handed them to a member of his staff. Amazingly, I was told that Michael wanted to see me. I couldn’t believe it. I was shaking. Thank god I had the drawings — if the worst came to the worst, I could always hide behind them. Suddenly I was being ushered up to his suite, by now terrified. As I entered the room — surrounded by his aides, people in suits — Michael was just standing there, welcoming me with a big smile. That relaxed me a little, but I knew things would be difficult because my English was not so good. I lived in Perpignan in France at the time, a town near the Spanish border, but I had only learned some of the language at school. “I’ve done something for you,” I said. He stared at my pictures. I’d brought five or six sketches, they were rough but I was pleased with them. “You study art?” he said. I told him that I didn’t and this caused the most unusual reaction: he started clapping. “You’ve got a gift,” he said. “It comes from God, you have to cherish this gift and feed it. Please keep on creating, I want to see more.” I felt proud and embarrassed at the same time. It was such a surreal experience. As I walked out of the suite, one member of his staff handed me a piece of paper. On it was the name of Michael’s assistant with a telephone number. I was told that “Mr Jackson would love to see more art,” and I walked away from the hotel, my head spinning, lost for words. Almost immediately, I started sending sketches to Los Angeles without knowing exactly if they would eventually end up in Michael’s hands. I soon found out that they were getting through: I would sometimes get feedback from him or suggestions. I would ask Michael for hints. I wanted to know what I should work on and his answers varied from a single word like “royalty”, or a very precise scene he wanted to see. Most of all, he said, he wanted me to pull from my guts and be creative. He even called one day. The phone rang and a voice enquired, “Celine?” I recognised him straightaway, but I couldn’t believe it. Michael Jackson, the man who made Thriller, the dancer who moonwalked at the Motown 25 show, had called me. Still it was hard to match that person to the voice because he was so humble and normal. I had sent him some sketches of Peter Pan and he told me he loved them. I’d been drawing other Disney characters for him, but he told me to be “more creative.” “You’ve got imagination, I know it,” he said. “Do something that has never been done before.” He told me several times to study and to be inspired by the great artists. I was astonished when I realised how knowledgeable he was when it came to classic art. He told me about Michelangelo, Delacroix, Leonardo Da Vinci and Nicolas Poussin. We talked about modern popular illustrators such as Norman Rockwell or Scott Gustafson. In his hotel room there were often piles of art books. He was very fond of the figurative style and enjoyed everything related to fantasy. Following his advice I paced up and down most of Paris’ museums, staring at the work of all the greatest masters and worked hard to improve my craft. By 1999, I decided it was time to show Michael the new piece I’d been working on: a portrait of him as Peter Pan. I knew he would love it, he was so fond of the Disney character. He was staying at the Ritz in Paris so I arranged a visit. When he saw the picture, he opened his eyes wide and hugged me really hard. “I love Peter Pan,” he laughed. “I am Peter Pan!”. That wasn’t all. Michael was about to commission an artwork from me. He pointed to the delicate mouldings on the walls that represented cherubs and softly explained the exact scene he had in mind: “Babies are adoring me with love and affection, which represent peace, love and harmony of all races,” he said. This artwork would later be named Inspiration. During the creative process of this piece I occasionally received instructions from Michael’s part, asking me to add or remove details in the composition. In the picture, Michael is pictured reaching for the finger of a cherub who is Prince, his first son. When he finally found out about this “detail” he seemed happy. He believed I’d been inspired by Michelangelo’s Creation Of Adam. At first, this painting was hung in Neverland. Later it would be reproduced on the carts that were used to drive around the ranch, though I don’t know where they are now. Overall, I think he had five paintings of mine, plus a jacket I made for him and a book. Looking back, one moment summed up our collaboration. I remember that Michael loved the fact that Michelangelo — one of his favourite artists — had inspired generations of others. His great achievements were still widely acknowledged centuries after his death. One day, I had a very interesting discussion with him about the power of art and the way it can transcend life, space and races. At the end of our meeting, Michael handed me a piece of paper. On it was written, “I know the creator will go, but his work survives, that is why to escape death I attempt to bind my soul to my work.” He looked at me. “Michelangelo said this,” he explained, though in hindsight, it’s probably a perfect way with which to describe Michael Jackson’s life".

seeingvoices12 said:

Mcclain's hands should be broken for trying to destroy some classics , He is a horrible producer..... I hate the accordion he added on Much too soon...doesn't fit with the song at all...

LMFAOOO!

ali23 said:

Michael and Celine

Céline Lavail first crossed Michael Jackson’s path in 1996 while the superstar was staying in Monte Carlo, but it was only two years later that Michael, particularly touched by one of her creations, commissioned a first piece for his private collection. This was the beginning of a collaboration that gave birth to several commissioned portraits of the star : "Peter Pan", "Inspiration", "Archangel", "Allegory" and "Scared of the Moon". "Mad Hatter", the very last piece produced for Michael Jackson that was meant to be delivered to him during the Summer of 2009 will be auctioned in early 2010 within the frame of "The Official Michael Jackson Opus" charity auctions. Most of the pieces that Céline Lavail created for Michael Jackson are featured in the luxurious publication "The Official Michael Jackson Opus" (Kraken Opus Ed.). The Opus features tributes to the star by those who new him best, worked with him and those inspired by his work including Reverend Jesse Jackson, Quincy Jones, Berry Gordy, Smokey Robinson, Shaquille O’Neal, Paula Abdul, John Landis, Sugar Ray Leonard, Jimmy Jam, Spike Lee, Teddy Riley, Jane Fonda and many more. "The Official Michael Jackson Opus" website : http://www.michaeljacksonopus.com The Official Michael Jackson Opus "I was only 17 years old when I first met Michael Jackson. It was 1996 and he was staying in Monte Carlo for a few days. I’d always been a fan of his music and I’d heard he was also a massive art lover. At that time I used to draw and sketch a lot as a hobby. My plan was to go to his hotel and give some of my pictures to his security staff in the hope that they would reach him in some way. When I got there with the pictures, the security guards handed them to a member of his staff. Amazingly, I was told that Michael wanted to see me. I couldn’t believe it. I was shaking. Thank god I had the drawings — if the worst came to the worst, I could always hide behind them. Suddenly I was being ushered up to his suite, by now terrified. As I entered the room — surrounded by his aides, people in suits — Michael was just standing there, welcoming me with a big smile. That relaxed me a little, but I knew things would be difficult because my English was not so good. I lived in Perpignan in France at the time, a town near the Spanish border, but I had only learned some of the language at school. “I’ve done something for you,” I said. He stared at my pictures. I’d brought five or six sketches, they were rough but I was pleased with them. “You study art?” he said. I told him that I didn’t and this caused the most unusual reaction: he started clapping. “You’ve got a gift,” he said. “It comes from God, you have to cherish this gift and feed it. Please keep on creating, I want to see more.” I felt proud and embarrassed at the same time. It was such a surreal experience. As I walked out of the suite, one member of his staff handed me a piece of paper. On it was the name of Michael’s assistant with a telephone number. I was told that “Mr Jackson would love to see more art,” and I walked away from the hotel, my head spinning, lost for words. Almost immediately, I started sending sketches to Los Angeles without knowing exactly if they would eventually end up in Michael’s hands. I soon found out that they were getting through: I would sometimes get feedback from him or suggestions. I would ask Michael for hints. I wanted to know what I should work on and his answers varied from a single word like “royalty”, or a very precise scene he wanted to see. Most of all, he said, he wanted me to pull from my guts and be creative. He even called one day. The phone rang and a voice enquired, “Celine?” I recognised him straightaway, but I couldn’t believe it. Michael Jackson, the man who made Thriller, the dancer who moonwalked at the Motown 25 show, had called me. Still it was hard to match that person to the voice because he was so humble and normal. I had sent him some sketches of Peter Pan and he told me he loved them. I’d been drawing other Disney characters for him, but he told me to be “more creative.” “You’ve got imagination, I know it,” he said. “Do something that has never been done before.” He told me several times to study and to be inspired by the great artists. I was astonished when I realised how knowledgeable he was when it came to classic art. He told me about Michelangelo, Delacroix, Leonardo Da Vinci and Nicolas Poussin. We talked about modern popular illustrators such as Norman Rockwell or Scott Gustafson. In his hotel room there were often piles of art books. He was very fond of the figurative style and enjoyed everything related to fantasy. Following his advice I paced up and down most of Paris’ museums, staring at the work of all the greatest masters and worked hard to improve my craft. By 1999, I decided it was time to show Michael the new piece I’d been working on: a portrait of him as Peter Pan. I knew he would love it, he was so fond of the Disney character. He was staying at the Ritz in Paris so I arranged a visit. When he saw the picture, he opened his eyes wide and hugged me really hard. “I love Peter Pan,” he laughed. “I am Peter Pan!”. That wasn’t all. Michael was about to commission an artwork from me. He pointed to the delicate mouldings on the walls that represented cherubs and softly explained the exact scene he had in mind: “Babies are adoring me with love and affection, which represent peace, love and harmony of all races,” he said. This artwork would later be named Inspiration. During the creative process of this piece I occasionally received instructions from Michael’s part, asking me to add or remove details in the composition. In the picture, Michael is pictured reaching for the finger of a cherub who is Prince, his first son. When he finally found out about this “detail” he seemed happy. He believed I’d been inspired by Michelangelo’s Creation Of Adam. At first, this painting was hung in Neverland. Later it would be reproduced on the carts that were used to drive around the ranch, though I don’t know where they are now. Overall, I think he had five paintings of mine, plus a jacket I made for him and a book. Looking back, one moment summed up our collaboration. I remember that Michael loved the fact that Michelangelo — one of his favourite artists — had inspired generations of others. His great achievements were still widely acknowledged centuries after his death. One day, I had a very interesting discussion with him about the power of art and the way it can transcend life, space and races. At the end of our meeting, Michael handed me a piece of paper. On it was written, “I know the creator will go, but his work survives, that is why to escape death I attempt to bind my soul to my work.” He looked at me. “Michelangelo said this,” he explained, though in hindsight, it’s probably a perfect way with which to describe Michael Jackson’s life".

I'd heard the 'bind my soul' quote before, but really, just wow.

He slways made time for his fans and admirers. Never turned down photos and autographs. Top bloke all round.

seeingvoices12 said:

Mcclain's hands should be broken for trying to destroy some classics , He is a horrible producer..... I hate the accordion he added on Much too soon...doesn't fit with the song at all...

Whoa! I gotta disagree with you on that SV. I think he did a pretty good job on Much Too Soon and Behind The Mask. It made me wonder how his mixes of the other songs sounded

Ahh,time for this weeks installment of

"Silly hoes,Jackie O. Edition"

When Jackie Met Jackson

by William Kuhn Info

William Kuhn is a biographer, historian, and author of Reading Jackie: Her Autobiography in Books.

Swa said:

babybugz said:

Guys which songs aren’t him again I’m hearing Michael on most of this album not finish listening though. Best of joy is good. Smh at anybody who think this album is better than invincible though. The guy at the cd store near me selling it early lol

If you have to ask which songs aren't him - then maybe you have your answer there in your question. At the end of the day until proof comes that satisfies us one way or the other it comes down to what you hear. If you hear MJ then enjoy it. If you don't, then skip it and enjoy it where you do.

I just ask calm down smh and I already heard it . The album is crap except for Best of Joy . *back to listening to Forever Michael*

[Edited 12/11/10 13:43pm]

Timmy84 said:

Marrk said:

And yet i listen to it alot. i..umm.. kinda like it.

I used to be in love with him , I miss him on wrestling.

bboy87 said:

seeingvoices12 said:

Mcclain's hands should be broken for trying to destroy some classics , He is a horrible producer..... I hate the accordion he added on Much too soon...doesn't fit with the song at all...

Whoa! I gotta disagree with you on that SV. I think he did a pretty good job on Much Too Soon and Behind The Mask. It made me wonder how his mixes of the other songs sounded

seeingvoices12 said:

bboy87 said:

Whoa! I gotta disagree with you on that SV. I think he did a pretty good job on Much Too Soon and Behind The Mask. It made me wonder how his mixes of the other songs sounded

NO

Militant said:

For the folks that feel the new version of "Behind The Mask" is a little overproduced....

I've attempted to recreate what the original MJ version would have sounded like by filtering out as much of the music from the new version as possible, then blending it with the instrumental of Greg Phillinganes 1985 version, taken from the official vinyl release of the single.

It's still a work in progress and I wasn't able to make a full acapella from the new version, so it's kinda messy, but I did what I could.

I've posted a clip for you guys here:

http://soundcloud.com/s-e...e-mix-clip

Let me know what you think. If you guys dig it I can try and finish it.

Bravo! awesome stuff.

Militant said:

seeingvoices12 said:

Maybe Militant can answer if sony has full access to MJ's unreleased vault and can use any song from it?

I actually do have some experience in this area due to my association with the Shakur estate and Tupac's unreleased material.

Here's the deal. Legally - the Estate own the rights to all unreleased work. However, that doesn't mean they physically own it and are able to release it. In order to have something to work with, the Estate need one of the following for every unreleased song, in order of preference:

1. Full multi-track masters (IE, every vocal track and instrument track individually)

2. 2-track master tapes (music on one track, vocals on another)

3. Isolated vocal track.

Now what's important is that we have absolutely NO idea how many songs the Estate does have the masters for. I'm going to go out on a limb and say they don't have many. Why? Because we already saw a report that specifically stated "John McClain was calling around producers to try and find songs".

Michael obviously had master copies of a lot of unreleased songs, but who knows what happened to them? He moved around a lot, some probably got misplaced or damaged. Perhaps he even had some in private storage and nobody has yet found where they were stored. Neverland was emptied after he stopped living there, but he obviously didn't take all his belongings to the Holmby Hills house because he was only renting it. Obviously he didn't take things to Bahrain, Ireland or Vegas because he wasn't in any of those places for any amount of time. Remember how there were reports of MJ's belongings being stolen? Remember how some of those private businessmen had roomfuls of MJ's belongings and were going to auction some of them because at some point MJ had owed money and stuff had been repossessed? No doubt some master copies of songs were among that stuff and are probably collecting dust somewhere.

It's certainly possible that he stored some at the family home in Hayvenhurst. Hell, most people store shit at their family home if they move around a lot. But ask yourself this - who would know if he did? Katherine's not going to spend time rooting through the attic looking through MJ's belongings. And if any of the family DID know - would they give them to the Estate? Probably not, because they're upset that they don't have any control over what the Estate does.

Who else would have access to masters and multitracks? The producers who produced the songs in question. Now here's the thing with that - they don't have to hand over what they have either. They can claim they don't have them - the Estate aren't going to literally raid people's studios, are they? Why wouldn't they hand them over? Maybe because they don't want things they worked on remixed to fuck and bastardized.

This exact scenario happened with Tupac. My friend Quincy "QD3" Jones III, had a song he had done with Tupac called "Soon As I Get Home" that had leaked online in approximately '98 or so. Not too long after 'Pac died. But he always said that he had lost the masters to that song so it was never released. Tupac's estate were remixing the fuck out of everything they were releasing (tastefully in some cases, not so in others), and then, in 2006, in the last few weeks of the Estate working on the "Pac's Life" album, QD3 "just so happened" to discover the master "in a closet"

The Estate, knowing how much fans loved this song rushed to put it on that album. And it was the ONLY song that was on that album that had not been remixed. It appeared in it's original form but in perfect quality. I've never asked Quincy directly, but I've always wondered perhaps he knew where it was the whole time but didn't want to see such a good song get remixed and ruined.

There's also situations where it might be a hassle for people to dig out stuff they have and so they just haven't gotten around to it. For example, Barry Gibb of the Bee Gees has at least 4 unreleased songs with Michael. He's a busy man, still touring, and I doubt he's in any hurry to dig out the masters of those songs from wherever they're stored. Not like he needs the money. And again, people such as him might want to finish these songs themselves if they were unfinished - if they just hand shit over to the Estate then they might not be given that opportunity even though it's their song as well.

Then you've got things like "Victory" and "There Must Be More To Life Than This".... two people worked on these songs, Michael and Freddie Mercury, and neither of them are here any more. The people maintaining Freddie's estate probably aren't gonna go digging around his belongings for the masters of these, either.

I'm sure most of you have seen the lists of unreleased songs that myself and bboy amongst others have posted. There's NO shortage of unreleased material that exists. So why is McClain having to call around producers looking for songs, and why is he having to resort to this bullshit Cascio fakery, and songs that have already been released like "The Way That You Love Me"?

The only logical reason is that, as I suggested, he simply doesn't physically have the masters of most of these unreleased songs. Some will turn up, given time. Others may not. It's all up to the individuals who have them. If they need the money, they'll sell 'em to the Estate. Others won't.

I remember hearing Michael said he kept much of his unreleased songs and masters in a vault or storage room at MJJ Productions

He registered these tracks with Library of Congress

Slipped Away (written by Michael and Marlon) (1980)
Who Do You Know? (written by Michael) (1981)
Happy Birthday, Lisa (written by Michael) (1991)
Hot Fever (written by Michael) (1985)
Dirty Diana (written by Michael) (1985)
Smooth Criminal (written by Michael) (1985)
Tomboy (written by Michael) (1985)
What You Do To Me (written by Michael) (1985)
What You Do To Me (written by Michael) (1998)
Learned My Lesson (written by Michael) (1981)
Much Too Soon (written by Michael) (1981)
Nymphette Lover (written by Michael) (1981)
Ode To Sorrow (written by Michael) (1977)
People Of The World (written by Michael) (1998)
The Price Of Fame (written by Michael) (1986)
Stand Tall (written by Michael) (1982)
Susie (written by Michael) (1978)
Thank Heaven (written by Michael) (1998)
That (written by Michael) (1998)
The Toy (written by Michael) (1981)
Under Your Skin (written by Michael) (1979)
We Are The Ones (written by Michael) (1978)
Somewhere In Time (written by Michael (1980)
Why Can't I Be (written by Michael) (1980)
You Told Me Your Lovin' (written by Randy) (1979)
You Told Me Your Lovin' (written by Michael) (1979)

I also remember seeing Bruce Swedien have tapes in his posession (He showed the ORIGINAL master to Thriller, the one Michael cried about )

My belief is that with this album, since they're trying to market it as "Michael's last album", and since some people Michael worked with in his last years weren't so co-operative (Will.I.Am, RedOne) and some may have not fit the flow (Do You Know Where Your Children Are, Slave To The Rhythm, Lovely Ways), they may have felt they had to go with the Cascios. I think we all know if Will had agreed to work on the album, Monster, Breaking News, and Keep Your Head Up wouldn't have been on the album

babybugz said:

Timmy84 said:

I used to be in love with him , I miss him on wrestling.

But what's more fake? Wrestling or 'Monster'?

Marrk said:

babybugz said:

I used to be in love with him , I miss him on wrestling.

But what's more fake? Wrestling or 'Monster'?

Monster!

As staged as wrestling maybe,i'm pretty sure that shit can hurt!Pain is pain.

[Edited 12/11/10 14:22pm]

Marrk said:

babybugz said:

I used to be in love with him , I miss him on wrestling.

But what's more fake? Wrestling or 'Monster'?

I'm seeing alot of people loving Monster.

As everyone knows I downloaded the album Illegally , destroyed the fraudascios tracks and threw to where they belong "recycle bin trash"

Then created my own album ....The tracklisting in order...

Hollywood tonight

Best of Joy

Blue Gangster

Hold my hold

Do you know where your children are

The way you love me ( The ultimate collection version (nothing beats the original) )

Another day

Behind the Mask (waiting for militant 's version)

Much too soon ( version with no accordion)

The other fake messes don't belong to my collection...

seeingvoices12 said:

As everyone knows I downloaded the album Illegally , destroyed the fraudascios tracks and threw to where they belong "recycle bin trash"

Then created my own album ....The tracklisting in order...

Hollywood tonight

Best of Joy

Blue Gangster

Hold my hold

Do you know where your children are

The way you love me ( The ultimate collection version (nothing beats the original) )

Another day

Behind the Mask (waiting for militant 's version)

Much too soon ( version with no accordion)

The other fake messes don't belong to my collection...

That's it.

seeingvoices12 said:

As everyone knows I downloaded the album Illegally , destroyed the fraudascios tracks and threw to where they belong "recycle bin trash"

Then created my own album ....The tracklisting in order...

Hollywood tonight

Best of Joy

Blue Gangster

Hold my hold

Do you know where your children are

The way you love me ( The ultimate collection version (nothing beats the original) )

Another day

Behind the Mask (waiting for militant 's version)

Much too soon ( version with no accordion)

The other fake messes don't belong to my collection...

I am not in2 Blue Gangster...looked it up...chile..... I thought it was going to be an all MJ song

paisleypark4 said:

seeingvoices12 said:

As everyone knows I downloaded the album Illegally , destroyed the fraudascios tracks and threw to where they belong "recycle bin trash"

Then created my own album ....The tracklisting in order...

Hollywood tonight

Best of Joy

Blue Gangster

Hold my hold

Do you know where your children are

The way you love me ( The ultimate collection version (nothing beats the original) )

Another day

Behind the Mask (waiting for militant 's version)

Much too soon ( version with no accordion)

The other fake messes don't belong to my collection...

I am not in2 Blue Gangster...looked it up...chile..... I thought it was going to be an all MJ song

It's an all mj song Entire solo track by MJ and it has leaked ....you Missed something:lol: ?

paisleypark4 said:

seeingvoices12 said:

As everyone knows I downloaded the album Illegally , destroyed the fraudascios tracks and threw to where they belong "recycle bin trash"

Then created my own album ....The tracklisting in order...

Hollywood tonight

Best of Joy

Blue Gangster

Hold my hold

Do you know where your children are

The way you love me ( The ultimate collection version (nothing beats the original) )

Another day

Behind the Mask (waiting for militant 's version)

Much too soon ( version with no accordion)

The other fake messes don't belong to my collection...

I am not in2 Blue Gangster...looked it up...chile..... I thought it was going to be an all MJ song

It is.

^ I know what paisley is referring to now: the Temperamental version. Of course that's not all MJ.

bboy87 said:

Militant said:

For the folks that feel the new version of "Behind The Mask" is a little overproduced....

I've attempted to recreate what the original MJ version would have sounded like by filtering out as much of the music from the new version as possible, then blending it with the instrumental of Greg Phillinganes 1985 version, taken from the official vinyl release of the single.

It's still a work in progress and I wasn't able to make a full acapella from the new version, so it's kinda messy, but I did what I could.

I've posted a clip for you guys here:

http://soundcloud.com/s-e...e-mix-clip

Let me know what you think. If you guys dig it I can try and finish it.

Brilliant job Mil - but wouldn't expect any less.

Now if you can just strip out the stupid unneeded live grabs in the 'Michael' version I might be able to truly love this track than just love it and then go "oh man why did they have to do that".

Timmy84 said:

^ I know what paisley is referring to now: the Temperamental version. Of course that's not all MJ.

Yeah, He was referring to messy tempamental version....

'Michael' is number 2 on the itunes charts here in Australia since Friday.

Number 1 is Bon Jovi's greatest hits - who are touring the country this week.

I expect MJ to be number one in the next few days, and to within a week be 1 on the Aria Charts (official sales charts for Australia).

How long before someone does a mash up between MJ and Eric Clapton on behind the mask?

I feel had they decided to release a box set (3 or more CDs in one set) of various unreleased tracks, demos, alternate mixes, then they wouldn't have put themselves into a corner IMO

bboy87 said:

I feel had they decided to release a box set (3 or more CDs in one set) of various unreleased tracks, demos, alternate mixes, then they wouldn't have put themselves into a corner IMO

See now that's what I'm talking about! I don't care how long it would've took, it would've been worth the wait.

bboy87 said:

I feel had they decided to release a box set (3 or more CDs in one set) of various unreleased tracks, demos, alternate mixes, then they wouldn't have put themselves into a corner IMO

TRUTH!

But if you think about it, do you think we would have been stuck with the Cascio records on the box set?

Fuck, this mix is hard. It's like a constant battle between trying to strip out the frequencies of all the drums and percussion without making the vocals too thin in the process....then I end up pushing up the vocals with compressors and the instruments are back LOL.... I cut them out but then everything is too treble-y so I cut some treble frequencies and push up some bass frequencies but then the new bassline comes back.... lol... it's just back and forth, back and forth trying to find a middle ground.

Right now I'm using volume envelopes to push down the album track when the talkbox comes in and immediately push it back up just before Michael's inbetween vocals come in, then drop it out again.... because the talkbox vocals are actually on the instrumental, you see.... there's also some different talkbox lyrics on Michael's version whereas on Greg's version there's just one set..... so I don't know what to do about that bit.

You guys want me to keep the sax solo or cut it completely? It wasn't on the original.

You actually think they give us a box set all at once. They are going to keep releasing albums every year so people can spend their money. The want to milk him.