Timmy84 said:

Can I adopt Stevanna?

DesireeNevermind said:

damn, Desiree...say what you feel


Oh yeah, Steve Harvey talks about Bill O'Reilly

NastradumasKid said:

I don't know if it's still in print but it's online:

http://jetzi-mjvideo.com/...jfv0a.html

Timmy84 said:

timmy, why did you post this link? boy, i'm up past my bedtime reading this scandalous book. reading the excerpts about how the jacksons ran through money and shit, it does make you understand why mj wanted someone else in charge of his estate. katherine should stop trying to test the will before she triggers that no contest clause and finds herself ass out of it altogether.

but back to the matter at hand: bad, bad, bad timmy for posting this link!

bboy87 said:

how bout a similar deal we got on kida.

Timmy84 said:

I feel certain he wasn't attracted to Rowe. Sure he liked white women, but he also liked extremely beautiful women in general regardless of race, whether for performance or romance. I believe he just, as people say, "got conned" by Rowe. She took advantage of his disappointment with Lisa Marie not getting pregnant and his sad desperation for becoming a father, and cajoled him by offering him children (of course for a few million dollars). And he foolishly fell for it. .... ....

The main reason why I'm so critical about her appearance though is not only because of her physical look, but mainly because of her serpentine personality. I can't stand deceitful people, and she screams "Mrs. Money Bags" to me, and I don't trust her. She's like the female version of Martin Bashir.

WaterInYourBath said:

Well, I feel it similar except for, I still respect Debbie for she hasn´t deciet Mike yet. She was the one to go to court and support him. Now we´ll see what happens with the custody hearings and how that turns out, but I believe that she desperately loved MJ and offering him kids was a nice way of getting him to bed.

bboy87 said:

Yes Steve tell'em .....Up yours o'reilly racist git how dare he !

NastradumasKid said:

Probably just Tito.

LondonStyle said:

Bill O'reilly dosen't know that he won't be able to steamroll over somebody like Steve the way he does every other okey doke fool intimidated by his nonsense. I could very easily see him making a comeback to Harvey in the wrong tone, and getting a wing tipped shoe up his ass. Smart-assery definitely not reccommended should you choose to respond, O'reilly

Sources tell us Epic Records, will let the fans of Michel Jackson design the cover art for Michael Jackson's new album of unreleased martial expected to be released late next year. The source says"Michael loved his fans, if he could not design the cover himself he would want his fans to." MichaelJackson.com will let people join up and upload there covers, And the public will be able to vote for favorites.

Source: MJInsider

suga10 said:

Joe could've said no comment. Why the fuck did he have to say "I don't know"? People are already thinking (including me) that he's a grade-A dumb ass.

I'm re-reading Margaret's book...


damn, Joe would beat Tito with an extension cord then pour salt on the wounds?

Looking back on the memorial - the thing that really got to me, beyond Paris' heartfelt statement - was watching his children sing along to We are the World and Heal The World. I don't know why it got to me, but it was a nice little surprise to see them singing along. Not that I didn't expect them to know their Dad's music, but to see them sing it so happily was touching.

Swa

Swa said:

mike would sing accapella to them all the time- beautiful songs as they played together, etc.. I saw a video of him helping them clean up puzzle pieces off the floor and he was singing "lost children"- it was beautiful- his voice was beautiful- I miss him - I know they do too... its heartbreaking to think of.

America 'Honored' By Michael Jackson's 'A Place With No Name' Sample

Jackson used folk-rock band's 'A Horse With No Name' in unreleased track.
By James Montgomery
July 20

The men behind "A Horse With No Name" — the song Michael Jackson sampled in an unreleased track that surfaced after his death — say they're "honored" that the late King of Pop decided to use their work.

In a statement to MTV News, Dewey Bunnell and Gerry Beckley, two-thirds of folk-rock act America, expressed their gratitude that Jackson chose their song to work into a tune called "A Place With No Name," and their regrets that his fans didn't get to hear the finished version during his lifetime.

"We're honored that Michael Jackson chose to record it and we're impressed with the quality of the track," the statement reads. "We're also hoping it will be released soon so that music listeners around the world can hear the whole song and once again experience the incomparable brilliance of Michael Jackson."

Last week, TMZ obtained a snippet of "A Place With No Name," an unreleased Jackson song that borrowed the strummed guitar from "A Horse With No Name." Jackson shared a manager with American in the late '80s and early '90s, though it's unclear just when he recorded the song.

America — then comprised of Bunnell, Beckley and vocalist/multi-instrumentalist Dan Peek — scored a massive hit in 1972 with "Horse," which went to #1 on the Billboard singles chart and propelled their self-titled debut album to multi-platinum sales.

It's not known whether the full version of "Place" will be released, but according to Jackson's one-time boss, former Sony Music chairman and CEO Tommy Mottola, there are "dozens and dozens" of MJ songs in the vaults that could trickle out for years to come.

http://www.mtv.com/news/a...hael.jhtml

I bet that TMZ has the full version, they are trippin, leak the whole version WTF
[Edited 7/21/09 6:33am]

On December 4th, 1978, 20 year old Michael Joe Jackson took a break from planning the release of The Jacksons' third LP on Epic Records titled "Destiny", to start production on his fifith solo effort.

Going into the studio with producer Quincy Jones, they set out on making an album that blended genres while bringing something new to the platform of pop and R&B music.

Destiny was released on December 17th and Michael and his brothers quickly went into promotion, appearing on such shows such as American Bandstand, Soul Train, and Top of The Pops as well as touring Europe and the United States, all the while, Jackson would catch flights back to Los Angeles to studios such as Cherokee Studios, Allen Zenth Recording, and Westlake Audio to continue recording for the solo project which was at the time titled "Girlfriend"

In the beginning, Michael was not exactly sure what he wanted as the final product but one thing he knew was that he didn't want to sound like a Jacksons album and strived for the individual and creative freedom that a solo album granted him, which was not something he had on his previous solo efforts at Motown, which were recorded at the same time his albums with The Jackson 5 were being recorded, even during the same sessions (for example, songs from Forever, Michael were recorded during the same session as songs from Moving Violation)

Michael began writing songs for the album around late 1977 after the filming of "The Wiz" and two of the songs from those early writing sessions were included on the album "Don't Stop Til You Get Enough" and "Workin' Day And Night", which early demos were recorded in 1978 with the help of his younger siblings Randy, then 17 and Janet, then 12 at the family's home recording studio at Hayvenhurst.

Another key writer on the album was Rod Temperton, who had been working on an album with Heatwave when Jones called him to write some songs for Michael.

Rod told him he’d write a song, and wrote 3 songs for Michael and Quincy to choose from. The duo booked a studio on the weekend when Rod wasn’t working with HW. Rod flew in (while Michael wasn’t there, most likely working promoting the Destiny album) to work on the tracks. He came back to Los Angeles the following week to work with Michael on the vocals, doing all of the background vocals for Rock With You, Burn This Disco Out, and Off The Wall that Saturday afternoon and all of the lead vocals the next afternoon. Michael spent the whole Saturday night learning the lyrics so he wouldn’t have to read off the paper.

The first session with Rod, Quincy asked him what musicians did he need to record the tracks, and Rod told him he would need 2 guitar players, a keyboard player, drummer, and a bass player. When he arrived to the studio, Quincy took him to the room with the musicians and told them “Here’s Rod, hit it!” This had been Rod’s first time without his own band.. Temperton had been in Heatwave for sometime and had gotten used to that environment and this was new atmosphere for him. He recalled feeling inadequate being in the studio when Jerry Hey and the other horns players arrived. At the end of the sessions, Temperton asked Quincy which songs had they picked, and Jones told him they wanted all 3. Temperton recalls Jackson singing uptempo grooves was very rhythmically driven and tried to write melodies with short notes to give him enough staccato, along with mixing them with enough harmonies.

Temperton took a different approach to his song writing after spending some time researching the background to Jackson's music style. Temperton mixed his traditional harmony segments with the idea of adding shorter note melodies to suit Jackson's aggressive style.

Other key contributors were Greg Philiganes who had worked on The Jacksons' Destiny album and would go on to collaborate with Michael on Thriller, Bad, Dangerous, and tour with him for the Victory, Bad, Dangerous, and HIStory Tour., The Brothers Johnson, especially Louis Johnson who co-wrote Get On The Floor with Michael which was created around the bass groove. Johnson had been playing around with it when he played it for Michael. He liked it, they went into the studio and collaborated on the song

other contributors included Stevie Wonder (co-writer of I Can't Help It with former Supremes Susaye Greene), David Foster and Carole Bayer Sager (It's The Falling In Love), Paul McCartney (writer of Girlfriend who would later record The Girl Is Mine, Say Say Say, and The Man with Michael in 1982), and Tom Bahler(writer of She's Out Of My Life)

The album did have obstacles. The recording of the album coincided with the European tour of The Jacksons' Destiny World Tour and the promotion of the Destiny album. Many observers feel that maybe Quincy's role in the production of the album has been overexaggerated.

Quincy's main role of the album was quality control, cutting down extra instrumentation and runs and getting particular people in the production. He was the person who got people like Temperton, The Johnsons, John Robinson from Rufus, and Patti Austin on board.
As time went on, Michael felt the direction of the album should be more dance and funk oriented but Quincy wanted a strict, conservative yet versatile album and the duo butted heads over the overall direction, comprising, and finding constant solutions.

Quincy also knew about balance and editing the album to fit the direction, which showed on the final result.

At the end of June 1979, audio mixing was handled by Bruce Swedien at Westlake Audio, after which the original tapes went to the A&M Recording Studio, also located in L.A. for mastering by Bernie Grunman.

OFF THE WALL initially debuted at #48 on the Billboard 200 but peaked at #3 26 weeks later, staying in the top 10 for 29 non consecutive weeks and stayed on the chart for over 2 years. It also peaked at #1 on the Billboard R&B album chart for 16 weeks, along with peaking at #5 on the UK album charts, selling over 19 million copies worldwide, making it the best selling album by a black artist of all time, for 3 years.





Billboard Album 200: #3
Billboard R&B Album- #1 (for 16 weeks)
UK Album Chart: #5
Australia- #1 (for 2 weeks)
Canada- #4
Finland- #9
France- # 27 (1988)
Germany- #25
Holland- #7
Ireland- #12 (2004)
Italy- #21
Japan- #26 (LP), #28 (cassette)
New Zealand- #2
Norway- #4
Sweden- #26
Zimbabwe- #1 (for 7 weeks)


Awards

1980
American Music Awards
Favorite Male Soul Artist
Favorite Soul Album - Off The Wall
Favorite Soul Single - Don't Stop 'Til You Get Enough

Grammy Awards
Best R&B Performance - Don't Stop 'Til You Get Enough

Billboard Awards
Top Black Artist
Top Black Album - Off The Wall

Cashbox
Soul Album of the Year - Off The Wall

1981
American Music Awards
Favorite Album (Soul/R&B) - Off The Wall
Favorite Male Vocalist - Soul/R&B

Cashbox
Soul Album of the Year - Off The Wall

British Phonographic Industry Awards
Off The Wall Album

DON’T STOP TIL YOU GET ENOUGH
Written by Michael Jackson
Produced by Michael Jackson and Quincy Jones
Rhythm arrangement by Michael Jackson and Greg Philliganes
Vocal and percussion arrangements by Michael Jackson

Released- July 28, 1979

Michael had written the song in early 1978 and recorded the demo in the family home studio in Encino with brother, 17 year old Randy and sister 12 year old Janet assisting him on the music. Originally coming with the concept while in the kitchen and couldn’t shake it off. He had his brother Randy play the melody on the piano. Michael’s mother, Katherine was taken aback by the lyrical content but was reassured by Michael that it wasn’t a reference to sex.

The song is abit reminiscent of Enjoy Yourself and Shake Your Body Down To The Ground in terms of lyrical content and meaning, but Don’t Stop stands miles ahead of both. From the minimalist bassline to the rhythm guitar sounding is if it is chopping at the song’s melody. It also remiscient of the Wall of Sound recordings.

Greg Philliganes on the clavinet responding to the melody and the synth solo in the breakdown is a true highlight of the song.

Performed on the 1979-1980 Destiny Tour, 1981 Triumph Tour. Michael included a part of the second verse while performing Shake Your Body (Down To The Ground) during the first leg of the Bad Tour. Was part of the Off The Wall medley during the first leg of the HIStory Tour

Mixes
Album Version
7’ Edit
7’ Edit without Intro
Long/Extended Version
Original 1978 Home Demo Recording
Masters At Work Remix
Roger’s Underground Club Solution


CHART STATS
Billboard Hot 100: #1
Billboard R&B: #1 (for 5 weeks) (#28 recurrent in Jan 09)
Billboard Hot Airplay- #5
Billboard Hot Sales- #1
Billboard Dance Club Play- #2
UK- #3 (#17 in 2006)
Australia- #1 (for 3 weeks)
Austria- #11
Belgium- #2
Canada- #3
Denmark- #2
Finland- #6
France- #11 (#52 in 2006 and #54 in 2008)
Germany- #13
Holland- #2
Ireland- #10
Italy- #16 (#6 in 2006)
Japan- #82
New Zealand- #1 (for 4 weeks)
Norway- #1 (for 2 weeks)
South Africa- #1 (for 5 weeks)
Spain- #6 (#2 in 2006)
Sweden- #18
Switzerland- #4
Zimbabwe- #1

ROCK WITH YOU
Written by Rod Temperton
Produced by Michael Jackson and Quincy Jones

Conceived from a rhythm section that Temperton had previously, he felt it was just right for Michael who had a way of handling melodic themes.

The light, laid back yet very tight keyboarding is one of the songs many shining moments

The original title of the song was “Eat You Up”, but was changed to fit with Michael’s image at the time.

The song is harmonically complex composition, but flows effortlessly
Months after the initial release, Michael went back and produced a slightly enhanced version of the song for the single release adding another guitar part, handclaps, and more reverb, which also replaced the original version on later pressings.

Performed during the 1979/1980 Destiny Tour, the 1981 Triumph Tour, 1984 Victory Tour, and 1987-89 Bad World Tour. It was to be on the setlist during the Dangerous Tour, but omitted before the tour launched. Also part of the Off The Wall medley during the HIStory Tour

Mixes
Original Album Version
Single Version/ 1980 album version
Frankie’s Favorite Club Mix
Frankie’s Favorite Club Mix Radio Edit
Masters At Work Remix

Billboard Hot 100- #1 (for 4 weeks)
Billboard R&B- #1 (for 6 weeks)
Billboard Hot Airplay- #2
Billboard Hot Sales- #1
UK- #7
Australia- #4
Canada- #3
France- #59 (in 2006)
Germany- #58
Holland- #22 (in 2006)
Ireland- #11 (#19 in 2006)
Italy- #9 (in 2006)
Japan- #97
New Zealand- #3
Spain- #1 (in 2006)

OFF THE WALL
Written by Rod Temperton
Produced by Michael Jackson and Quincy Jones
Released in February 2, 1980

The song’s intro is quite reminiscent of the introduction to 1982’s Thriller, with the haunting falsetto vocals and the errie laugh

The chorus backgrounds display multi tracking at it’s finest

Chorus
So tonight gotta leave that nine to five upon the shelf
And just enjoy yourself
Groove, let the madness in the music get to you
Life aint so bad at all
If you live it off the wall
Life aint so bad at all (live life off the wall)
Live your life off the wall (live it off the wall)

The melody created by the vocals is shows influence by Jackson’s lifelong friend Stevie Wonder’s use of the method with songs such as “It Ain’t No Use” and “You’ve Got It Bad Girl”

The lyrical content of the title track: Forget your problems, Forget work, forget the obstacles, just join the party and have the time of one’s life, revolves many times on the album, from Don’t Stop Til You Get Enough, Rock With You, Get On The Floor, and Burn This Disco Out. This particular idea has quite absent in Jackson’s work post 1980...and sorely missed

Mixes
Remix
7’ Remix
Junior Vasquez Mix
Instrumental -
Basement Jaxx Mix
Jellybean Remix

Billboard Hot 100- # 10
Billboard R&B- #5
Billboard Hot Airplay- #9
Billboard Hot Sales- # 6
UK- #7
Australia- #94
Canada- #11
Denmark- #23
Holland- #18
Ireland- #20
Japan- #70
New Zealand- #14
Norway- #4
South Africa- #20
Sweden- #9
Zimbabwe- #14

SHE’S OUT OF MY LIFE
Written by Tom Bahler
Produced by Quincy Jones and Michael Jackson

Written by Tom Bahler after Karen Carpenter broke up with him upon discovering he had fathered a child with another woman. This song is a fine example Michael Jackson the vocalist is. The song speaks of a lost love after one makes too many mistakes and takes her for granted. The raw and gut wrenching lyrics joined with Michael’s vulnerable and heartbroken vocals, make this song one of the ultimate break songs.

One Okayplayer member remarked of the song “Yeah, this is not the song to play as hold music for the suicide hotline”


MIXES
Album Version


Billboard Hot 100- #10
Billboard R&B- #43
Billboard Hot Airplay- #10
Billboard Hot Sales- #14
UK- #3
Australia- #17
Canada- #15
Denmark- #19
Holland- #13
Ireland- #4
New Zealand- #6

GIRLFRIEND
-
Written by Paul McCartney

The song, about the “other man” teasing his girlfriend that he’s going to expose their escapades to her true boyfriend, if she doesn’t.

Suprisingly, the light and breezy number has never been a fan favorite and is Michael’s fourth lowest charting single in the UK

UK- #41
New Zealand- #49

WORKIN’ DAY AND NIGHT
Written by Michael Jackson
Produced by Michael Jackson and Quincy Jones

Originally written for The Jacksons’ Destiny album, Michael held it back from his brothers because he felt they wouldn’t like the track. The song “Things I Do For You” and “All Night Dancin’” from the Destiny Tour, are both very similar to Workin’ Day And Night in some aspects.
In the demo recorded in early 1978, the song was recorded with Michael and his brother Randy sharing lead vocals with assistance from sister Janet. Michael’s other brothers can be heard in the facility in the recording also.

The song was slightly sped up for the final recording in mid 1979. An instrumental was also produced by never released.

Much like the production of Don’t Stop Til You Get Enough, the song driven by the wall of sound percussion, blending different rhythms, making a new one. If you hear the background mix of the Workin, you’ll hear many different grooves, mixing themselves together

It was performed on the 1981 Triumph Tour, 1984 Victory Tour, 1987-89 Bad Tour, and the first 2 legs of the Dangerous Tour but later taken off the set list in favor of Dangerous and due to Michael’s health issues at the time

IT’S THE FALLING IN LOVE
Written by David Foster and Carole Bayer Sager
The flirty ballad about wanting to resist temptaion and giving in to your undying emotions.

It’s one of Michael’s best duets, sharing the lead vocals with the legendary Patti Austin.


Performed at the Budweiser Superfest in 1982 with Patti Austin, performing It’s The Falling In Love


Album Version

Swa said:

mike would sing accapella to them all the time- beautiful songs as they played together, etc.. I saw a video of him helping them clean up puzzle pieces off the floor and he was singing "lost children"- it was beautiful- his voice was beautiful- I miss him - I know they do too... its heartbreaking to think of.