"I can only speak for the Bad Tour period where I recorded and mixed two Wembley Concerts (July 14th & 16th 1988) to multitrack.

Yes, Mike SANG pretty much everything - even toward the end of the show on the 16th (which was the third-day-straight-in-a-row show).

I listened to those mixes again recently after having put them away for over 20 years - my first reaction was 'omg this is wonderful' as the hairs stood straight up on the back of my neck, 2nd thought was 'thank god I didn't screw up'

Mike's performance on the 16th was way so markedly way beyond that of the 14th, and any other concert of his that I've heard from around that period (Dangerous tour included) - perhaps it had something to do with Lady Diana being there that night - he was obviously very happy, laughing and playing with the audience - it seems like it was a very special event for Mike and he most certainly sang his heart out.

There was no fraud Jim, Mike was the real deal.

The Bad Wembley recordings were commissioned to record concert audio for the Around The World documentary which was scheduled to be simulcast (simultaneoulsy released to air) on NBC, BBC, NHK and other broadcasters later that month on July 29th (I think).

I was told that whilst video for the documentary had been shot at a number of concerts throughout the tour, Mike felt that the audio thusfar, for reasons never elaborated on, was not up to scratch, so I was asked to record, mix and then sync snippets of audio to the documentary video master. It's a longer story than I have time for at the moment unfortunately.

The audio is of very high quality indeed (but then of course I would say that lol), having been recorded to Mitsi 32's. The multitracks were mixed with great care and 'honesty' - you guys who have worked on live concert recordings will know exactly what I mean by this.

In answer to your question, I don't actually know whether video recordings (suitable for post-production) of Wembley exist.

In the realms of supposition, I'd imagine that the IMAG (nocturne prods) video produced each night was fed from video mixer output (used to feed the giant screen, and that the seperate camera feeds were likely not recorded discreetly however I may be completely wrong on this.

Patrick Kelley, who directed Around the World, did have a 7 man camera crew working on the 14th (this was in addition to the giant screen video crew) and some of that footage was used in both the 'Another Part of Me' video (which used footage from Wembley 14th and also Paris) and was also used in the Around the World Documentary.

Patrick's crew were using in-cam recorders but I seem to remember they only recorded the first part of the show on the 14th

Nevertheless, even if matching video does not exist, it would be a great pity if the wembley recordings were never released - the outstanding quality of Mike's performance on the 16th imho cries out to be heard - only the estate could tell you if and when " (Gearslutz 2009, one of the engineers from Wembley)

I added the gearslutz commentaries to make people understand the situation, that I've been speculating for months about with my friends. So I really hope that nocturnes productions has some more material or that they find the master tape of the Bad tour, because even tho they're fixing it with some new techniques, there should be some footage that's like the "Another part of me" video even if they use clips from other shows. Also I think that the estate should release the first leg Bad Tour even tho most of us have it in bad quality, because I know many people who'd enjoy it. We still dont have any Dvds from the Victory tour either, so they should just release the first leg tour too. I mean it's just crazy that Mike only has 1 offical Dvd!

Don't know if ya'll saw my comment, but I'll repost it, if nobody saw it...

samhabib said:

I'd go into more detail about all of their other products, the shambles that was the Visions boxset for example, but I'm bored of talking about them to be honest. The Michael Jackson Estate is enough to make me hate Michael Jackson!

Yes I know the estate has done so many stupid things for Michaels legacy, however Michael has been dead for almost 3 years now! There's nothing he can do. Leave the man alone, if theres anyone we should be pissed at and doing petitions about is the estate. Problem is that when it comes to material, Michael got sued many times and his personal things are everywhere. Henry Vaccaro had some mastertapes from the Jackson 5 & The Jacksons as well as some Thriller era stuff. I read a story about some driver from Brazil having some mastervideo from the Dangerous tour, dont know how he got that tape, but it goes to show you that many people have Michael material. I'm mostly pissed of at the fact that they're trying to sell us these crapy fake songs like the songs made during the Cascio sessions. I remember I thought we'd get an album by 07/08 and I heard NOTHING about the Cascio sessions and they werent even on the list of unreleased materia prior to 09, so obviously they're fake even if they're saying it's not. So we should pressure the estate to get the facts straight and perhaps hire a fan to help them or something xD

[Edited 6/5/12 9:21am]

it ain't michael's fault they're inept at releasing live dvds unless of course the jacksons themselves got the masters of the tapes. i'm more pissed that the family allowed henry vaccaro to get into their shit but of course they never really learned much about business except for michael and janet.

The Story Behind Michael Jackson's Infectious, Newly Released Song

By Joseph Vogel

The demo of "Don't Be Messin' 'Round" is among dozens of unreleased tracks from the Bad sessions, and provides insight into King of Pop's songwriting and recording process.


It's been 25 years since Michael Jackson was in Westlake Studio in Los Angeles putting the finishing touches on his classic 1987 album, Bad. Today, a demo of a never-before-heard song from those sessions will finally get an audience when Sony's re-release of Bad's original lead single, "I Can't Just Stop Loving You," hits Wal-Mart shelves. The B-side, an infectious rhythm track called "Don't Be Messin' 'Round," provides a glimpse into Jackson's creative process—and to his incredible profligacy as a songwriter.


Jackson had a habit of writing and recording dozens of potential songs for each new project. This was especially the case for the Bad era, a prolific period in his career. At one point, he considered making Bad a triple-disc album given the amount of quality material. So it's fitting that later this fall, Sony Music and Jackson's estate will put out a full album of previously unreleased material from the Bad sessions. While the track list has not yet been finalized and will not be made public until closer to the September 18 release date, more than 20 new, unheard demos from the Bad sessions are currently being considered for the album. The songs being evaluated include a number of real gems and a few titles previously unknown to the most ardent Jackson aficionados.


Jackson would pull out the song again during both the 'Dangerous' and 'HIStory' sessions. Clearly, it was a song he liked. But it never found a home.

A team of Jackson collaborators and caretakers—including estate heads, Sony VP John Doelp, producer Al Quaglieri (who oversaw the excellent 2004 box set, Michael Jackson: The Ultimate Collection) and recording engineer, Matt Forger—combed through the vaults to see what was viable for the Bad 25 release. The criteria used for identifying potential songs were simple: They had to be recorded during the Bad era (1985-1987), and they had to be developed enough to feel like a complete track.

The Michael Jackson estate and Sony Legacy are leaving Jackson's work raw and unembellished this time around, in contrast to the King of Pop's first posthumous album, 2010's controversial Michael. The tracks will thus be less polished but more authentic, organic and true to what Jackson left behind. Similar to the critically acclaimed 2009 documentary, This Is It, the goal is to provide an intimate glimpse of the artist in his element. The listener, in essence, is brought into the studio with Michael Jackson as he works out a variety of musical ideas in his follow-up to the best-selling album of all time.

"Don't Be Messin'" illustrates this concept well. In the track, we can hear Jackson giving instructions, vocally dictating instrumental parts, mapping out where to accent words or add percussion, scatting and ad-libbing many of the unfinished lyrics. "One of the main intentions is to show that these are works in progress," says Matt Forger, a sound engineer and longtime Jackson friend and collaborator. "To pull the curtain back. To actually see Michael in his natural work environment, how he directs, his sense of humor, his focus."

The finished product, then, is intentionally unfinished and spontaneous. "You can just hear him having fun," Forger says. "His spirit and emotion are totally there. He knew in demos he didn't have to be totally perfect in his execution. So he'd be loose. He'd throw in ad libs and dance or sing or pop his fingers or clap his hands. You just hear him enjoying himself."

Jackson first wrote and recorded "Don't Be Messin'" during the Thriller sessions with engineer Brent Averill. Around this time he was working on a variety of musical ideas, including demos of "P.Y.T." and "Billie Jean." "Don't Be Messin'" features Jackson himself playing piano ("He could do more than he ever really let people know," Forger says.) He also produced, arranged, and guided many of the instrumental parts, including the cinematic strings, Jonathan Maxey's piano part in the bridge, and David Williams funky guitar licks.

Ultimately, since "Don't Be Messin'" wasn't fully developed and so much other strong material was coming in for Thriller, Jackson decided to put the song on the back burner, having in mind to revisit it for his next album. "That was kind of how Michael developed ideas and songs," explains Forger. "He let the song unfold in its own time. Sometimes a song wasn't ready or didn't quite fit the character of an album or a project and it would stay in the vaults. And then at a certain point of time, he would pull it out again."

In this case, the track re-surfaced in 1986, during the early stages of the Bad sessions. Jackson worked on the song primarily with recording engineers Matt Forger and Bill Bottrell in the "laboratory," the nickname for his renovated home studio at Hayvenhurst. As was typical for Jackson rhythm tracks, the song was quite long (nearly eight minutes) in its early phases. "Michael loves a song to be long," Forger says. "He loves it to groove because he gets to dance to it—which is a big thing, because when Michael feels the music is making him dance it means the groove is in the pocket."

Jackson's grooves, however, were unusual in that they often lacked the predictable repetition of much dance music, surprising with strange beat patterns, textures and nuances. "Some of these long versions of ["Don't Be Messin'"] really sound very interesting because there's different things happening in different sections," Forger says. "It's really not like you're sitting there for eight minutes thinking it's terribly long, because things are happening within that length of time that make it feel like, 'Yeah, this is cool.' It's actually satisfying to listen to the rhythm."

Cutting the song down was often a brutal process for Jackson, especially the intros and outros. As with other songs on Thriller and Bad, though, Jackson tried to trim it down into the four-to-five minute range, which is where the new mix of "Don't Be Messin'" clocks in.


Jackson continued to work on "Don't Be Messin'" into late 1986, at both his home studio and at Westlake. However, once Quincy Jones came on board, the serious paring began and "Don't Be Messin'" was left on the cutting room floor. Jackson would pull out the song again during both the Dangerous sessions and HIStory sessions, updating its sound and adding new elements. Clearly, it was a song he liked. But ultimately it never found a home.

The version Matt Forger mixed was the last version Jackson worked on during the Bad sessions in 1986. Forger feels it is the purest, most emotionally satisfying version: "It's exactly how Michael dictated it at the time. It's precisely Michael saying, 'this is how it has to be.'"

The 1986 demo isn't a groundbreaking song. The vocal is only partial-strength, the lyrics aren't finished, and the production isn't close to what it would be had it been fully realized by Jackson and Quincy Jones. However, it is a solid addition to the growing list of quality Bad-era outtakes (a list that also includes "Streetwalker," "Fly Away," and "Cheater"). "It's such a catchy underlying melodic hook," Forger says. "And it has a rhythmic feel that syncopates in such an interesting fashion." In a 2009 interview legendary recording engineer Bruce Swedien cited the track as one of his favorite unreleased Jackson songs. "It's just beautiful," he said . "Oh my God, there's nothing like it."

Like much of his work, the track doesn't fit neatly into a single genre, fusing flavors of Latin, jazz, and pop. With its breezy Bossa Nova rhythm and layers of interwoven hooks, it is a song that easily gets stuck in the head and makes you want to move—yet it also rewards multiple listens with its sophisticated syncopation and complex rhythm arrangement ("Music is like tapestry," Jackson once said. "It's different layers, it's weaving in and out, and if you look at it in layers you understand it better.")

For Forger, working on the track triggered memories of a simpler time in Jackson's turbulent career: "It just brought all the feelings back of what it was like in that era. Michael was just this exuberant, happy person. He wanted to challenge the world and make wonderful, great music."

What was Forger's goal in resurrecting the track?

"Just to make it authentic. Something Michael would enjoy and be proud of. It's got his charm and energy. If people appreciate it and enjoy it for what it is then I'll feel great. All I want it to be is enjoyed for the simple thing that it is."



<iframe width="100%" height="166" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F48277703&show_artwork=true" frameborder="0" ></iframe>


This article available online at:

http://www.theatlant...ed-song/258115/

^ I still say this track is from 1982. And you might say the BAD era started circa 1983 because demo's like Dirty Diana, Pyramid Girl, Buffalo Bill, etc. were already being created.

More than 20 unreleased tracks? Let's hear them all.

[Edited 6/5/12 11:44am]

i know that this has been discussed before, but do any of you think Michael rerecorded some of the Beatles music? we know of coarse he recorded Come Together, and its rumoured he recorded Strawberry Feilds Forever. but with him being heavily influenced by the beatles, and him owning the music catalog, he had to of recorded more than just Come Together.. of coarse not ALL of the beatles music, but i think he may of recorded maybe 5 or 10 songs, idk just a theory,

on another note, has anyone got there mj pepsi cans? i cant find them anywhere! i live in a relatively small town, so that may be why i cant find them.. does anyone know how i can get a few cans?

Derek1984 said:

^ I still say this track is from 1982. And you might say the BAD era started circa 1983 because demo's like Dirty Diana, Pyramid Girl, Buffalo Bill, etc. were already being created.

More than 20 unreleased tracks? Let's hear them all.

[Edited 6/5/12 11:44am]

Yes, you're right. Didnt Michael plan to make an album by 1985, but since Thriller was still selling - the exuctives told him to wait? I think I read something like that somewhere.

And I know I cant wait, they should def release em all

I love how even when impartial 3rd parties like the post on Gearslutz attests to MJ not being happy with the live sound captured during the BAD tour and seems to back up the reasoning of the Estate - people still blame the Estate for how things are.

A lot of fans seem to enjoy bitching about the Estate and every move made since Michael's passing. I have often heard people say "Michael would never let this happen". Yet they are the same fans demanding releases of demo versions and tour DVDs. One could argue if Michael never saw fit to release any tour on DVD - except Bucharest - never chose to release his vast array of demos then that should be that - never release them. So should we never see or hear them? Is that what Michael would have wanted?

I'm not denying the Estate have made missteps, and there will always be things to nitpick as each of us as fans would probably want things done differently and some will never be 100% satisfied, but the Estate is there to keep Michael a viable entity and ensure his legacy lives on, and in my mind are doing things right on Bad 25.

dag said:

The Story Behind Michael Jackson's Infectious, Newly Released Song

By Joseph Vogel

The demo of "Don't Be Messin' 'Round" is among dozens of unreleased tracks from the Bad sessions, and provides insight into King of Pop's songwriting and recording process.


It's been 25 years since Michael Jackson was in Westlake Studio in Los Angeles putting the finishing touches on his classic 1987 album, Bad. Today, a demo of a never-before-heard song from those sessions will finally get an audience when Sony's re-release of Bad's original lead single, "I Can't Just Stop Loving You," hits Wal-Mart shelves. The B-side, an infectious rhythm track called "Don't Be Messin' 'Round," provides a glimpse into Jackson's creative process—and to his incredible profligacy as a songwriter.


Jackson had a habit of writing and recording dozens of potential songs for each new project. This was especially the case for the Bad era, a prolific period in his career. At one point, he considered making Bad a triple-disc album given the amount of quality material. So it's fitting that later this fall, Sony Music and Jackson's estate will put out a full album of previously unreleased material from the Bad sessions. While the track list has not yet been finalized and will not be made public until closer to the September 18 release date, more than 20 new, unheard demos from the Bad sessions are currently being considered for the album. The songs being evaluated include a number of real gems and a few titles previously unknown to the most ardent Jackson aficionados.


Jackson would pull out the song again during both the 'Dangerous' and 'HIStory' sessions. Clearly, it was a song he liked. But it never found a home.

A team of Jackson collaborators and caretakers—including estate heads, Sony VP John Doelp, producer Al Quaglieri (who oversaw the excellent 2004 box set, Michael Jackson: The Ultimate Collection) and recording engineer, Matt Forger—combed through the vaults to see what was viable for the Bad 25 release. The criteria used for identifying potential songs were simple: They had to be recorded during the Bad era (1985-1987), and they had to be developed enough to feel like a complete track.

The Michael Jackson estate and Sony Legacy are leaving Jackson's work raw and unembellished this time around, in contrast to the King of Pop's first posthumous album, 2010's controversial Michael. The tracks will thus be less polished but more authentic, organic and true to what Jackson left behind. Similar to the critically acclaimed 2009 documentary, This Is It, the goal is to provide an intimate glimpse of the artist in his element. The listener, in essence, is brought into the studio with Michael Jackson as he works out a variety of musical ideas in his follow-up to the best-selling album of all time.

"Don't Be Messin'" illustrates this concept well. In the track, we can hear Jackson giving instructions, vocally dictating instrumental parts, mapping out where to accent words or add percussion, scatting and ad-libbing many of the unfinished lyrics. "One of the main intentions is to show that these are works in progress," says Matt Forger, a sound engineer and longtime Jackson friend and collaborator. "To pull the curtain back. To actually see Michael in his natural work environment, how he directs, his sense of humor, his focus."

The finished product, then, is intentionally unfinished and spontaneous. "You can just hear him having fun," Forger says. "His spirit and emotion are totally there. He knew in demos he didn't have to be totally perfect in his execution. So he'd be loose. He'd throw in ad libs and dance or sing or pop his fingers or clap his hands. You just hear him enjoying himself."

Jackson first wrote and recorded "Don't Be Messin'" during the Thriller sessions with engineer Brent Averill. Around this time he was working on a variety of musical ideas, including demos of "P.Y.T." and "Billie Jean." "Don't Be Messin'" features Jackson himself playing piano ("He could do more than he ever really let people know," Forger says.) He also produced, arranged, and guided many of the instrumental parts, including the cinematic strings, Jonathan Maxey's piano part in the bridge, and David Williams funky guitar licks.

Ultimately, since "Don't Be Messin'" wasn't fully developed and so much other strong material was coming in for Thriller, Jackson decided to put the song on the back burner, having in mind to revisit it for his next album. "That was kind of how Michael developed ideas and songs," explains Forger. "He let the song unfold in its own time. Sometimes a song wasn't ready or didn't quite fit the character of an album or a project and it would stay in the vaults. And then at a certain point of time, he would pull it out again."

In this case, the track re-surfaced in 1986, during the early stages of the Bad sessions. Jackson worked on the song primarily with recording engineers Matt Forger and Bill Bottrell in the "laboratory," the nickname for his renovated home studio at Hayvenhurst. As was typical for Jackson rhythm tracks, the song was quite long (nearly eight minutes) in its early phases. "Michael loves a song to be long," Forger says. "He loves it to groove because he gets to dance to it—which is a big thing, because when Michael feels the music is making him dance it means the groove is in the pocket."

Jackson's grooves, however, were unusual in that they often lacked the predictable repetition of much dance music, surprising with strange beat patterns, textures and nuances. "Some of these long versions of ["Don't Be Messin'"] really sound very interesting because there's different things happening in different sections," Forger says. "It's really not like you're sitting there for eight minutes thinking it's terribly long, because things are happening within that length of time that make it feel like, 'Yeah, this is cool.' It's actually satisfying to listen to the rhythm."

Cutting the song down was often a brutal process for Jackson, especially the intros and outros. As with other songs on Thriller and Bad, though, Jackson tried to trim it down into the four-to-five minute range, which is where the new mix of "Don't Be Messin'" clocks in.


Jackson continued to work on "Don't Be Messin'" into late 1986, at both his home studio and at Westlake. However, once Quincy Jones came on board, the serious paring began and "Don't Be Messin'" was left on the cutting room floor. Jackson would pull out the song again during both the Dangerous sessions and HIStory sessions, updating its sound and adding new elements. Clearly, it was a song he liked. But ultimately it never found a home.

The version Matt Forger mixed was the last version Jackson worked on during the Bad sessions in 1986. Forger feels it is the purest, most emotionally satisfying version: "It's exactly how Michael dictated it at the time. It's precisely Michael saying, 'this is how it has to be.'"

The 1986 demo isn't a groundbreaking song. The vocal is only partial-strength, the lyrics aren't finished, and the production isn't close to what it would be had it been fully realized by Jackson and Quincy Jones. However, it is a solid addition to the growing list of quality Bad-era outtakes (a list that also includes "Streetwalker," "Fly Away," and "Cheater"). "It's such a catchy underlying melodic hook," Forger says. "And it has a rhythmic feel that syncopates in such an interesting fashion." In a 2009 interview legendary recording engineer Bruce Swedien cited the track as one of his favorite unreleased Jackson songs. "It's just beautiful," he said . "Oh my God, there's nothing like it."

Like much of his work, the track doesn't fit neatly into a single genre, fusing flavors of Latin, jazz, and pop. With its breezy Bossa Nova rhythm and layers of interwoven hooks, it is a song that easily gets stuck in the head and makes you want to move—yet it also rewards multiple listens with its sophisticated syncopation and complex rhythm arrangement ("Music is like tapestry," Jackson once said. "It's different layers, it's weaving in and out, and if you look at it in layers you understand it better.")

For Forger, working on the track triggered memories of a simpler time in Jackson's turbulent career: "It just brought all the feelings back of what it was like in that era. Michael was just this exuberant, happy person. He wanted to challenge the world and make wonderful, great music."

What was Forger's goal in resurrecting the track?

"Just to make it authentic. Something Michael would enjoy and be proud of. It's got his charm and energy. If people appreciate it and enjoy it for what it is then I'll feel great. All I want it to be is enjoyed for the simple thing that it is."



<iframe width="100%" height="166" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F48277703&show_artwork=true" frameborder="0" ></iframe>


This article available online at:

http://www.theatlant...ed-song/258115/

This story makes sense to why the track is put on the IJCSLY single then because usually with Michael, most songs started off as a process... Michael would always write or record a track during a recording of an album at different times.

I am really anxious to see what the tracklisting is going to be for disc #2. I guess I am really hoping for Buffalo Bill to be on there the most. I also have a feeling Tomboy might be a strong outtake. I know Groove of Midnight has already been released (by Siedah Garrett) but I bet MJ's version is way better and understand why it didn't make BAD.

Derek1984 said:

I am really anxious to see what the tracklisting is going to be for disc #2. I guess I am really hoping for Buffalo Bill to be on there the most. I also have a feeling Tomboy might be a strong outtake. I know Groove of Midnight has already been released (by Siedah Garrett) but I bet MJ's version is way better and understand why it didn't make BAD.

if i had to guess, (this is a guess people) i would say it will probably look like

Buffalo Bill

Tomboy

Groove of Midnight

Al Capone

Chicago 1945

Pyramid Girl (lib. girl demo)

Hot Fever (twymmf demo)

remix

remix

remix

remix

remix

The only reason I am doubting Groove of Midnight will be on here is because the Estate specifically mentioned unreleased tracks left at Hayvenhurst. I would guess MJ never worked on GOM there because it was a Temperton track (probably worked on at Westlake with Quincy).

The mix from DBMA is the 1987 mix but the vocals are 1982. Same thing with Streetwalker. Streetwalker's mix that was released was mixed in 1988 but the vocals were 1986-87. As far as what to expect on the second CD here's what I think

Price of Fame

Hot Fever

Tomboy

What You Do to Me

Come Together (I don't know why but I feel like it's going to be on there)

Strawberry Fields Forever (maybe?)

Al Capone

Pyramid Girl

I don't know about getting Buffalo Bill. I just hope they don't try and get us with some fake records

dm3857 said:

on another note, has anyone got there mj pepsi cans? i cant find them anywhere! i live in a relatively small town, so that may be why i cant find them.. does anyone know how i can get a few cans?

YES! I went to Walmart today to get the IJCSLY/DBMA single and they had the Pepsi cans too! I bought 6 of them But they were in a weird place though, up front near the cash registers. I also picked up 4 copies of the CD single, I plan to give the extras away to friends

NaughtyKitty said:

dm3857 said:

on another note, has anyone got there mj pepsi cans? i cant find them anywhere! i live in a relatively small town, so that may be why i cant find them.. does anyone know how i can get a few cans?

YES! I went to Walmart today to get the IJCSLY/DBMA single and they had the Pepsi cans too! I bought 6 of them But they were in a weird place though, up front near the cash registers. I also picked up 4 copies of the CD single, I plan to give the extras away to friends

I didn't see the soda, but I looked every where for the single. I finally found it.

ViintageJunkiie said:

The mix from DBMA is the 1987 mix but the vocals are 1982. Same thing with Streetwalker. Streetwalker's mix that was released was mixed in 1988 but the vocals were 1986-87. As far as what to expect on the second CD here's what I think

Price of Fame

Hot Fever

Tomboy

What You Do to Me

Come Together (I don't know why but I feel like it's going to be on there)

Strawberry Fields Forever (maybe?)

Al Capone

Pyramid Girl

I don't know about getting Buffalo Bill. I just hope they don't try and get us with some fake records

Vocals from 1982, mix from 1987. Now THAT makes more sense. I wonder what the 1982 mix sounds like? Probably it's the piano version that Bruce talked about. A piano version from 1982 would make sense because it was probably an even more "rough demo".

I could be wrong, but I think I read someplace that What You Do To Me was later reworked on for Invicible. As far as "fake" tracks, I doubt that will happen this time around. The Estate should have enough material to avoid such a thought. And let's not forget, unlike "Michael", they aren't trying to sound current and have any of these songs make the charts.

[Edited 6/6/12 5:49am]

NaughtyKitty said:

dm3857 said:

on another note, has anyone got there mj pepsi cans? i cant find them anywhere! i live in a relatively small town, so that may be why i cant find them.. does anyone know how i can get a few cans?

YES! I went to Walmart today to get the IJCSLY/DBMA single and they had the Pepsi cans too! I bought 6 of them But they were in a weird place though, up front near the cash registers. I also picked up 4 copies of the CD single, I plan to give the extras away to friends

GOING TO WALMART ASAP TODAY

NaughtyKitty said:

dm3857 said:

on another note, has anyone got there mj pepsi cans? i cant find them anywhere! i live in a relatively small town, so that may be why i cant find them.. does anyone know how i can get a few cans?

YES! I went to Walmart today to get the IJCSLY/DBMA single and they had the Pepsi cans too! I bought 6 of them But they were in a weird place though, up front near the cash registers. I also picked up 4 copies of the CD single, I plan to give the extras away to friends

Cool, i'd order the cd if it was available in the uk but the postage is outragous.

Hmm I may have to go to Wally World and see if they actually have it... (the Pepsi MJ cans)

I just starting to get really allergic to Oprah. She is so fake. I hate the way she says "smart" while she is obviously trying to get something that could be turned into negative from her. Look at the quote, they chose as a headline "I was confused".

http://music.yahoo.com/blogs/stop-the-presses/paris-jackson-discusses-her-childhood-oprah-winfrey-162847107.html

dag said:

I just starting to get really allergic to Oprah. She is so fake. I hate the way she says "smart" while she is obviously trying to get something that could be turned into negative from her. Look at the quote, they chose as a headline "I was confused".

http://music.yahoo.com/blogs/stop-the-presses/paris-jackson-discusses-her-childhood-oprah-winfrey-162847107.html

kibbles said:

dag said:

I just starting to get really allergic to Oprah. She is so fake. I hate the way she says "smart" while she is obviously trying to get something that could be turned into negative from her. Look at the quote, they chose as a headline "I was confused".

http://music.yahoo.com/blogs/stop-the-presses/paris-jackson-discusses-her-childhood-oprah-winfrey-162847107.html

you're just starting? i haven't and won't click on any link related to this "interview". i don't know why any mj fan would. it's sad on oprah's part, sadder on paris' part.

No. I have already been for quite a while.

NeonCraxx said:

I WANT THE FUCKING CANS BUT THERE IS No WAllMART WHERE I lIVE! I'll ask my grandma to pick me up some.

HA! I didn't know about any cans either, now I've got to go back to damn walmart.

AND, my single has DBM entitled "Baby Be Mine" , luckily I bought two, so I had to open up the 2nd one, I didn't want to, and it has the correct title, now I've got to buy another one. I'm pissy!!!!

So,what do we think of this song? Yay or nay?

"Don't Be Messin' Round" by Michael Jackson

SoulAlive said:

So,what do we think of this song? Yay or nay?

"Don't Be Messin' Round" by Michael Jackson

I dont understand why Paris is on the Oprah show, she's not a friends of hers. She's just trying to get more ratings! ugh... Oprah is annoying... she should just go away and marry gale or whatever her friend is called, so we dont need to hear about her anymore lol...

SoulAlive said:

So,what do we think of this song? Yay or nay?

"Don't Be Messin' Round" by Michael Jackson

Def yay! It sounds like Michael had fun, but more importantly to me personally; it gives me an insight how the sessions with Michael were and how he worked. It sounds fresh and I wish we could hear the other versions of the songs because it sounds like a new sound to Michaels vast music styles. I can tell it was worked on during the Thriller era, because it sounds like the PYT demo Michael made.

I WANT SOME OF THOSE CANS !....

The latest videos in the Michael Jackson Academia Project. KILLER! Must watch videos!

[Edited 6/7/12 6:59am]