GoldDolphin said:

Scorp said:

I agree with George all mightily and the reason being

what he said in this clip is exactly the reaction that was uttered throughout the community, particularly the black community who were the base of his appeal from day one, for without that, Michael's career along w/the Jackson Five as a whole never would have jumped out the gates

the proof of that reaction revealed itself by the sheer numbers

25 million sales of THRILLER in america alone, which indicates he was NOT hated here in his home country but revered and respected

and just 3 years later (since Thriller ran towards the end of 1984), w/the biggest follow up in recording industry released for an artist who was recognized as the biggest star on the planet, you go from 25 million in your own country to 6-8 million copies, a 20 million decline in sales

can we see how drastic that is?....who has ever experienced that?...nobody

see, when he become more of a commercial presence, people responded to his pending self destruction w/extreme indifference to masked the reason why he was destroying himself to begin with....even then, Michael Jackson was crying out the day he kicked off the opening leg of his first ever solo tour in Osaka, Japan......

remember the plea he cried out to the world......it was the same plea that made its presence known in songs like LEAVE ME ALONE to WILL YOU BE THERE (my favorite Michael Jackson song since the 90s) to SCREAM to STRANGER IN MOSCOW......

When the BAD TOUR began, he said, which was first reported during a issue of People Magazine that was covering the release of his album:

and I'm not talking about the distorted version of what he said that was modified in the mid 90s, but in the year 1987.....he said

"like the old indian proverb says do not judge a man until you've walked 2 moons in his mocassins" with words in between but ended the plea by saying "for I've been bleeding a long time now"........

as if he knew he was being called, to be CHOSEN to fulfill the requirement the establishment and those associated with it outside of the community placed on this man to move beyond his natural existence, because he had been receiving those queues throughout his entire career...EVEN when he fronted the JACKSON 5 as they debuted on the scene

and because of that expectation, he was led into, forced into, and he eventually acquiesced in order to play the game, what he mentioned in the song SCREAM when he said "yall keep changin the rules, I keep playin the game, I can't take it much longer, I think I may go insane"

and he acknowledged that he was a defeated man in STRANGER IN MOSCOW when he said "armegeddon of the brain, all abandoned in my fame, KGB be stalking me, just take my name and just let me be"...a defeated man in the since his musical message had been undermined, even as great as it was

well, this is what has happened over time and stands as the current reality because Michael Jackson's name and his history is now exclusively owned by the establishment

those artists you mentioned: the NEOS, the RIHANNAS, the JUSTINS, the CHRIS BROWNS, the BRITNEY SPEARS......all of them are speaking through the perspective of focusing on teh entertainment value, the excitement of that, during the stage of Michael's career and his life where the human toll was beginning to supercede that

they grew up during the age of the Pop Ascension, the very movement that "chose" Michael to be its representative, the very movement that robbed him of his essential goodness, which he admitted to in STRANGER IN MOSCOW

the reason why those songs BUTTERFLIES and YOU ROCK MY WORLD were receiving airplay on urban stations because the theme for INVINCIBLE was an attempt for Michael to be reingratiated with the black community on the level he did during his years at Motown, and when he first cut solo unleashing Off The Wall and Thriller, the audience that he lost, that he knew he lost, the audience he knew made it possible for him to sell out stadiums in Europe/Asia/Central America and Australia

those african nations that Michael visited in 1993 and 1995-96.....many of those nations had been stripped of their sovereignty by years, decades, and centuries of british colonial rule, their point of reference has been shaped by that experience

Just imagine just how awesome this situation could have been.....the authenticity could have and should have lasted longer than it actually did.....if he would have been allowed to present his talent to the world in his natural state.....that would have made his message resonate to the level of its intended promise

the tragedy is, the world was robbed of that opportunity and doesn't realize it

[Edited 9/10/12 19:29pm]

Im not going to continue this disucssion because you always seem to have negative things to say about Mike, it seems as if you stayed in the Thriller era and didn't want to see the aristic growth he made in Bad, Dangerous, HIStory eras which is a shame because those are the eras that people are now looking at again, because those eras were misrepresented because of his "face" the tabloid shit and not the music, but now people are looking at his artistic maturity. It's not strange that "Man in the mirror" was the first song fans turned to when he died, or that public started listening to Morphine, Stranger in Moscow, Who is it and actually understand the underrated musical genius he was. MJ was a proud black man and other black people trying to make him less black because of a disease are being no better than the white journalists who mocked him out of racism and missunderstanding of the african-american musical tradition. The king of pop (popular forms of music - soul,rock & pop) is a black man and he's known all around the world and is respected. He opened doors for many other black artists, so get over the fact that he had vitiligo and got some nosejobs. He's not the only black person who has done surgery on his face and all of the Jacksons have done it. From papa Joe to youngest sister Janet.

ok here it is....it comes down to point of reference

the songs that I HEARD on the radio on 6/25/09....

I heard BILLIE JEAN, BEAT IT, WANNA BE STARTIN SOMETHIN, THRILLER ROCK WITH YOU, OFF THE WALL, WORKING DAY AND NIGHT, HUMAN NATURE, DON'T STOP TIL YOU GET ENOUGH, CAN YOU FEEL IT, THE MOTOWN CLASSICS, DANCING MACHINE

yeah, MAN IN THE MIRROR was played, but the majority of the songs the radio stations played in my neck of the woods and I'm sure black communities throughout the united states were playing those same songs

as far as me being "stuck" with THRILLER, I bought all of his albums afterwards, and NEVER, EVER compared his current albums w/his predecessors

if a person claims DANGEROUS as his/her favorite, that person isn't accused of being stuck or living in the past....

see, this is what I don't like

if a person says that OFF THE WALL is their favorite album, MJ'S current fanbase tends to accused that person of living in the past....but its cool if someone says their favorite MJ album is DANGEROUS, HISTORY, or INVINCIBLE....there's no questions asked......that's a problem...

as far as "growth".....even Michael Jackson said himself out of his own mouth on many of occasion, particularly when he participated in radio interviews during his legal battles that OFF THE WALL was not only his FAVORITE album, but the best album he ever did out the box...

that came right out the horses mouth

so if he said that, which he did as late as the interview he did w/ABC's morning show GOOD MORNING AMERICA.....that means he used OFF THE WALL as the platform to propel him to the Pop Music stratosphere as he incorporated the themes of black authencitiy (shaped by centuries of culture, rooted in struggle) and framed his music in a manner that would ultimately appeal to an exclusive commercial based audience, that's different from "growth"

for he was groomed to seek that ideal from day one when signed professionally with MOTOWN records

I've always stated that MICHAEL created accomplished work after his pinnacle....I've always contended that because the MESSAGE was the one aspect of his life and career that remained consistent since 1969......but the manner in which he projected that message changed drastically after reaching the pinnacle and that's when the problems started

and yes, his transformation DID undermine his message, and his career in ever fashion, and the tone of his music changed also.....not only that, but it crushed his livelihood and destroyed his physical being and his spirit...that's why I keep alluding to the fact I stopped seeking the entertainment value when there was no longer a reason to seek it (which goes for any performer).....for he was crying out ever since the Pop Ascension stripped him of his essential goodness

let's take the entertainment value out the equation, the music, the singing, and the dancing for a few

let's consider the physical torture he took himself thru to project "mass appeal"

let's consider the fact that everyone grows older

let's consider the fact that nobody's career last forever

and when you do consider that, consider the price Michael Jackson was paying behind closed doors w/all the surgery and cosmetic alterations he chose to take himself thru, and the hours and days, and months, and years the damage would eventually take its toll that turned him into a broken soul

and then tell me was all of that really worth it

see, I never EVER see his current following even consider that, for the focus is always on the music, not for the music's sake, but to avoid ackowledging the tremendous price that was paid

do you know why OFF THE WALL is the best album he ever did?.......

as far as the family having nosejobs.....yeah, that's true

but the question that should be asked is WHY THEY DID IT?

I would like to hear you answer and I"ll respond later tonight.....

[Edited 9/11/12 18:45pm]

Marrk said:

ForgottenPassword said:

So true. This was my biggest criticism of Invincible - verse-chorus-verse-chrous-bridge-chrous... with little variation. Just too formulaic.

Wow. Critical of what is the universally accepted way of constructing a modern pop song? Damn you MJ for never knowing what to do. If only he'd listened to the likes of you two and not say a James Brown or a Stevie or the Brothers Gibb. It's a crying shame he learnt nothing from his time at Motown

fucking hell.

looooooooooool i love what you said

verse-chorus-verse -bridge.....is the basic foundation of any song in the world...

funny how some people try to say otherwise...

and still funny that some trolls and haters always show with any new release.......

seeingvoices12 said:

Marrk said:

Wow. Critical of what is the universally accepted way of constructing a modern pop song? Damn you MJ for never knowing what to do. If only he'd listened to the likes of you two and not say a James Brown or a Stevie or the Brothers Gibb. It's a crying shame he learnt nothing from his time at Motown

fucking hell.

looooooooooool i love what you said

verse-chorus-verse -bridge.....is the basic foundation of any song in the world...

funny how some people try to say otherwise...

and still funny that some trolls and haters always show with any new release.......

Oh dear god....

Xscaper said:

Marrk said:

Wow. Critical of what is the universally accepted way of constructing a modern pop song? Damn you MJ for never knowing what to do. If only he'd listened to the likes of you two and not say a James Brown or a Stevie or the Brothers Gibb. It's a crying shame he learnt nothing from his time at Motown

fucking hell.

Some people just criticize for the heck of it.

These snippets sound pretty good to me. "Al Capone" sounds like it has a bit of "WBSS", "BODY" and "Rhythm is gonna getcha" in it.

Love "Price Of Fame"."I'm so blue" sounds nice as well.

"Free" is the kind of run of the mill ballad that i usually don't care much about.

Ah, now i remember why i stayed away from this thread for a long time....The forbidding of the critical opinion of MJs songs.

I don't shoot anyone else's overwhelmingly positive comments...but my HALF critical opinion gets a massive defensive reaction....are some of you insecure about MJ?

WetDream said:

Xscaper said:

Some people just criticize for the heck of it.

These snippets sound pretty good to me. "Al Capone" sounds like it has a bit of "WBSS", "BODY" and "Rhythm is gonna getcha" in it.

Love "Price Of Fame"."I'm so blue" sounds nice as well.

"Free" is the kind of run of the mill ballad that i usually don't care much about.

Ah, now i remember why i stayed away from this thread for a long time....The forbidding of the critical opinion of MJs songs.

I don't shoot anyone else's overwhelmingly positive comments...but my HALF critical opinion gets a massive defensive reaction....are some of you insecure about MJ?

I know right! I'm a huge admirer of MJ's music. Huge. But I call out what I don't like. Invicible is an OK album but it IS formulaic pop. No two ways about it. These "fans" above are the type who'd gather all of MJs albums together and perform a circle jerk around them. And the one who cums least gets beaten for not showing enough enthusiasm.

Best to leave them to it.

I really really like abortion papers better than streetwalker.........

price of fame reminds me of mind is the magic.....a good song...

I love abortion papers too, addictive beat! his vocals are great on the rest not to sound greedy, but I want more Bad songs!!! cheater was another great cut I enjoyed

alphastreet said:

I love abortion papers too, addictive beat! his vocals are great on the rest not to sound greedy, but I want more Bad songs!!! cheater was another great cut I enjoyed

Where did you here these songs at besides the two posted in this thread?

ForgottenPassword said:

WetDream said:

Ah, now i remember why i stayed away from this thread for a long time....The forbidding of the critical opinion of MJs songs.

I don't shoot anyone else's overwhelmingly positive comments...but my HALF critical opinion gets a massive defensive reaction....are some of you insecure about MJ?

I know right! I'm a huge admirer of MJ's music. Huge. But I call out what I don't like. Invicible is an OK album but it IS formulaic pop. No two ways about it. These "fans" above are the type who'd gather all of MJs albums together and perform a circle jerk around them. And the one who cums least gets beaten for not showing enough enthusiasm.

Best to leave them to it.

MJ is EVERYTHING to me.... but I agree with this. Its his weakest album although I still like it and I do think it is underrated as far as certain songs... Break of Dawn, Butterflies, Whatever Happens, etc.

mjscarousal said:

alphastreet said:

I love abortion papers too, addictive beat! his vocals are great on the rest not to sound greedy, but I want more Bad songs!!! cheater was another great cut I enjoyed

Where did you here these songs at besides the two posted in this thread?

http://www.cede.ch/de/music-cd/frames/right.cfm?aobj=956863

ForgottenPassword said:

seeingvoices12 said:

mjscarousal said:

Where did you here these songs at besides the two posted in this thread?

http://www.cede.ch/de/music-cd/frames/right.cfm?aobj=956863

I LOVE ALL THE SONGS!!!!! FREE IS MY FAVORITE!!!!

[Edited 9/11/12 19:03pm]

Thanks Alphastreet and Seeingvoicies!!!!!!

ForgottenPassword said:

WetDream said:

Ah, now i remember why i stayed away from this thread for a long time....The forbidding of the critical opinion of MJs songs.

I don't shoot anyone else's overwhelmingly positive comments...but my HALF critical opinion gets a massive defensive reaction....are some of you insecure about MJ?

I know right! I'm a huge admirer of MJ's music. Huge. But I call out what I don't like. Invicible is an OK album but it IS formulaic pop. No two ways about it. These "fans" above are the type who'd gather all of MJs albums together and perform a circle jerk around them. And the one who cums least gets beaten for not showing enough enthusiasm.

Best to leave them to it.

You're free to criticize. Just make sure there is weight to your argument otherwise it just sounds like you're randomly venting out.

Irrespective of the quality of MJ albums, he has ALWAYS followed pretty much the same basic formula. In fact, if anything he actually deviated from the typical "Formula Pop" with his later albums where he added Rap to the mix.

Just because you prefer his older albums doesn't mean he was more innovative then. Invincible wasn't a good album because it lacked quality songs. Nothing wrong with the "Formula" if applied correctly.

Anytime

I'm totally high on an mj vibe

Ellie said:

I think I'm going to wait until Monday when I get the album to listen to the songs. I'm sick of hearing snippets of things.

You don't have to. The whole CD is available to stream.
I love "Price of fame" and like "Al Capone" and "Free" (which apperantly is another demo he did with Randy... I question though whether that and "Price of fame" are really Bad era demos... not quite convinced) is quite funny. The rest is somewhat dated, but then again, they are not finished and it's still great to hear "new" songs.

The "Speed demon" remix kinda makes me go "WTF?", but I kinda like it.

[Edited 9/12/12 4:00am]

PatrickS77 said:

Ellie said:

I think I'm going to wait until Monday when I get the album to listen to the songs. I'm sick of hearing snippets of things.

You don't have to. The whole CD is available to stream.
I love "Price of fame" and like "Al Capone" and "Free" (which apperantly is another demo he did with Randy... I question though whether that and "Price of fame" are really Bad era demos... not quite convinced) is quite funny. The rest is somewhat dated, but then again, they are not finished and it's still great to hear "new" songs.

The "Speed demon" remix kinda makes me go "WTF?", but I kinda like it.

[Edited 9/12/12 4:00am]

I've not heard anything 'new' from BAD25 at all. Looking forward to the DVD and the live album, cause i was there and frankly, it's about bloody time.

Abortion, Fame, and 'Bad': Listening to Michael Jackson's Unreleased Demos

in Share SEP 11 2012, 4:45 PM ET 12

The stories behind the tracks that will finally see the light of day for the album's 25th-anniversary rerelease

MJJ / Sony Music

In late 1986, Michael Jackson was pacing in Westlake Audio's Studio D, singing to himself: "I feel so bad, I feel really bad, God music makes me feel good."

"At the time, we had no idea the name of the album was going to be called Bad," jokes assistant engineer, Russ Ragsdale.

It wasn't the only revelation for the crew at Westlake. It turned out in the interval between Thrillerand the official start of the Bad sessions, Jackson had written some 60-70 new songs. Eleven ended up on the official album, leaving numerous great tracks on the cutting room floor in various stages.

Over the past couple of years, under the direction of Jackson's estate, a team has been carefully archiving and digitizing these demos. "Some tracks we found were very early recordings," says Jackson estate co-executor John Branca. "Some were actually so complete that any other artist but Michael Jackson might consider them finished tracks. Still others were in between." Of these, six demos were chosen for Disc 2 of the forthcoming Bad 25 box set (out September 18).

Recently I was given an exclusive listen to these never-before-heard demos. I was struck by how finished and enjoyable they are. These are not mere song fragments. While the production on a couple of them sounds a bit dated, all have great hooks and choruses. What makes them really special, though, is their authenticity. None have been given a modern makeover. What they offer is a more intimate picture of Jackson the recording artist, circa 1985-87. We hear his ideas, his warmth, his pain, his humor, and his energy. The best of the bunch, for me, is the gorgeous mid-tempo ballad, "I'm So Blue," though a case could easily be made for the edgy rhythm tracks, "Price of Fame" and "Al Capone." Each of these six demos (and two others that had been previously released) contains its own unique imprint—and most importantly, all are 100 percent real, unembellished Michael Jackson.

What follows is a track-by-track review with additional insights from recording engineer and longtime Jackson friend, Matt Forger:

"Don't Be Messin' 'Round"

I wrote an in-depth piece on the making of this infectious, Bossa Nova-styled rhythm track back in June when it was released as a B-side to Jackson's No. 1 hit ballad, "I Just Can't Stop Loving You."You can read that piece here. A fan favorite (and a song Jackson worked on many years and for which he had great affection), it is an appropriate opener to this collection. Some day it would be fascinating for listeners to hear the extended cuts (many of Jackson's songs and demos have longer versions which he often reluctantly trimmed down at Quincy Jones's bequest) as well as its later re-incarnations.

Matt Forger:"The thing I love about these demos is the rawness. Michael had the freedom to just get the expression out there without thinking, 'Oh, Quincy is going to be judging the vocal, or it has to be perfect.' It's just Michael going for it, experimenting, having fun."

"I'm So Blue"

This is a simple but beautiful ballad about singing to keep the blues away. Its languid, wistful feel is augmented by a lush keyboard bed, airy strings and soulful harmonica. It conjures a warm, summer dusk as Jackson narrates a tale of lost love. "I've been singing for so very long," he laments. "Still I'm crying/ Tell me what should I do." The wordless chorus (sha da da da da da da) is a resigned sigh. Like the blues men of old, he takes refuge from his loneliness and sorrow in the music.

Matt Forger: "This was a song Michael worked on with me and Bill Bottrell. It was already mixed from that era. It's a mid-tempo, melancholy, rainy-day-by-the-fireplace kind of song. It's a bit reminiscent of Stevie Wonder—the harmonica, the tonality. Stevie was a big part of Michael's life. It's not unusual that you would see that influence in his work."

"Abortion Papers"

Jackson isn't the first recording artist to explore the controversial subject of abortion in song. It has also surfaced in the work of Neil Young, Madonna, Sinead O'Connor, and Lauryn Hill, among others. In "Abortion Papers," Jackson approaches the matter carefully (and ambiguously): rather than presenting a dogmatic political perspective, he personalizes it through the story of a conflicted girl raised in a deeply religious home and her Bible-admonishing father. In his notes for the track, Jackson wrote, "I have to do it in a way so I don't offend girls who have gotten abortions or bring back guilt trips so it has to be done carefully....I have to really think about it." Jackson narrates the track with a strong, passionate vocal. Ironically, the main drawback of the track is its catchiness. It feels a bit strange wanting to dance and sing along to a song about abortion, but that's exactly what the addictive groove inspires. Kudos to Jackson for attempting to tackle a sensitive issue in a thoughtful manner, though it appears even he wasn't quite sure about how it would play to listeners.

Matt Forger: "This was a song that we initially missed during archiving. It was titled 'Song Groove' on the box so we overlooked it. Once we figured out what it was we started to put the pieces together. It was recorded by Brian Maloof and Gary O., a couple of engineers who worked with Michael for a brief time. When we heard it we knew it could be controversial, especially with what's been going on politically. But when you listen to the song there's a story being told. Michael really reflected on what the approach should be. He wasn't sure how to narrate it. There were different variations with vocals—he didn't want it to be judgmental. He was very clear about that. But he wanted to present a real, complicated situation."

"Free"

"Got to be free," Jackson exclaims in this breezy ballad's conclusion. His bright, breathy vocal hearkens back to the carefree vitality of the Jacksons/Off the Wall era. The verses on this track were clearly still being worked out, but the chorus ("Free, free like the wind blows/ To fly away just like the sparrow...") and harmonies are enough to whisk one away from the worries of the day. Beautiful song.

Matt Forger:"There were times when going back and listening to this stuff was really an emotional experience for me. That was especially the case when I started working on the song, 'Free.' When you listen to this song you hear Michael's spirit and joy. It's raw, it's loose, it's him in his element, doing what he loved to do. The first time I listened to it I broke down. This is what it was like every day."

"Price of Fame"

One of the recurring themes in Jackson's work—pervasive on the Bad album and its outtakes—is about being in control versus being controlled. Given the nature of his life, particularly afterThriller, this preoccupation makes sense. How does he retain his identity, his sanity, his privacy amid such suffocating scrutiny, adulation, and expectations? Out of this context comes the dark psychological rumination, "Price of Fame," with its Police-like, "Spirits in a Material World" opening and "Billie Jean"-esque verses (there are also chords with echoes of "Who Is It"). "Father always told me you won't live a quiet life," he rues, "if you're reaching for fortune and fame." The vocal throughout is drenched in painful irony. Where "Billie Jean" relays a mother's plea to "be careful who you love," here the father dominates via harsh dictums about the realities of show business. "It's the price of fame," Jackson sings in the chorus. "So don't you feel no pain/ It's the price of fame/ So don't you ever complain." While the song's production isn't complete by Jackson's standards, it does offer a powerful vocal (listen to the way he bites into the lyric: "My father never lies!"). It is a striking juxtaposition to the easy bliss of the previous track, revealing why he so desperately yearned to fly away and be "free."

Matt Forger: "Bill [Bottrell] and I worked on this one and I believe this is Bill's mix from that era... You can just tell it's an emotionally charged song. It's clearly based on his experience. But Michael often did songs that are based on his experience but blended with other characters and people's experiences as well."

"Al Capone"

"Al Capone" sounds about as much like "Smooth Criminal" as "Streetwalker" sounds like "Dangerous" (i.e. not very much at all). In both cases, however, Jackson took elements he liked and transformed them into something completely new. It is a testament to Jackson's instincts, patience, and work ethic. While this earlier version has great potential (and likely would have been released by many of Jackson's contemporaries as is), he kept at it and came up with the timeless classic that is "Smooth Criminal." The demo also demonstrates Jackson's remarkable knack for choruses that stick. One listen and those falsetto harmonies are on repeat in the brain.

Matt Forger: "This is an example of a song where a part of it inspires the next version of the song. There have been many cases where Michael has done that, where he would dwell on a song and refine concepts, or lyrics or melodies. The bass line in 'Al Capone'—you can see how it evolved into 'Smooth Criminal.' And the whole gangster theme carried over—though as it evolved it became less about a particular historical figure and more about a situation and a story. You can also hear Michael experimenting with this staccato-type of vocal, this rapid wordplay that he would later use."

"Streetwalker"

"Streetwalker" retains its place as the best of the Bad-era outtakes (closely followed by the unincluded standout, "Cheater"). While it was first released on the 2001 special edition of Bad, it is nice to have it in this collection as it fits so perfectly with the other material on the album and will now be heard by millions more listeners. Jackson actually wanted the track on the final lineup ofBad, but eventually conceded to Quincy Jones on "Another Part of Me." The song features a killer bass line, bluesy harmonica fills, and a classic Jackson vocal.

"Fly Away"

Also originally released on the 2001 special edition of Bad, this beautiful ballad is pure sonic bliss. Unlike some of the early Hayvenhurst demos, the production here is pristine and showcases Jackson's voice in sublime form.

Remixes:

There are a handful of remixes at the end of Disc 2, intended, no doubt, to introduce Jackson to a new generation of listeners. By far, the best among these is the driving, high-energy remix of "Speed Demon" by Nero. It feels like it could be a club or radio hit today. You can take a listen here.

http://www.theatlantic.co...os/262242/

If I can call MJ in that photo a Prince....can I be his Kat?

This could be the Doc DVD cover

al capone ... great song. for the fifth time on repeat. Other songs I have not heard, I want to wait for a personal kit.

Michael Jackson “Bad25″ Box Features Dedication to Frank DiLeo

http://www.showbiz411.com...rank-dileo

http://www.tudou.com/prog...-L-uOPKU/#

I dont know if I should listen or wait until next week...

[Edited 9/12/12 10:32am]

PatrickS77 said:

Ellie said:

I think I'm going to wait until Monday when I get the album to listen to the songs. I'm sick of hearing snippets of things.

You don't have to. The whole CD is available to stream.
I love "Price of fame" and like "Al Capone" and "Free" (which apperantly is another demo he did with Randy... I question though whether that and "Price of fame" are really Bad era demos... not quite convinced) is quite funny. The rest is somewhat dated, but then again, they are not finished and it's still great to hear "new" songs.

The "Speed demon" remix kinda makes me go "WTF?", but I kinda like it.

[Edited 9/12/12 4:00am]

Both are legit BAD outtakes. Price of Fame was intended for the 1987 Pepsi campaign but was cancelled when they chose the revamped version of BAD instead.

NaughtyKitty said:

http://www.tudou.com/prog...-L-uOPKU/#

I dont know if I should listen or wait until next week...

[Edited 9/12/12 10:32am]

I feel you, I dont know what to do! =(.... I'm going to wait till next week tho....I think... gosh.. lol

I'll need to hear the songs a few more times, and in better sound quality to be sure what I think of them, but on first listen..

Don't Be Messin' 'Round -

I'm So Blue -

Song Groove -

Free -

Price Of Fame -

Al Capone -

I think "I'm So Blue" and "Al Capone" might grow on me, but I don't really find anything appealing about "Price Of Fame".. the music/melody is weak.. that is, I don't really find it catchy or danceable, and lyrically, he's done too many songs like this one.

Haven't bothered with the remixes.. I can wait to hear them.