papaaisaway said:

Timmy84 said:

And who can forget "SHAMONE!" and "COM ON! (that's how he says it, not 'come' but 'com')"

We need to do top ten reasons for why Breaking News is breaking bullshit.

10. Hee-hee's in wrong place

09. No sign of a proper shamone in that mutha

08. This would be a typical angry Jackson song and there's not one "ack!" or a dismissive "dah!" to be heard

07. When MJ sings in a faster tempo he's sometimes unintelligible and you need three or four lessons to work out what he's said. I understood every word of that bullshit from the get-go

06. No beat-boxing to accompany the drum track

05. Not a single "daggone it!"

04. It sounds like Jason Malachi

03. It sounds wack (see number 4 above)

02. MJ never referred to himself in the third person before in song

01. And if he did............ he wouldn't call himself "Miku Jaschksin!"

Can we memo this to Sony?

MyLuv229 said:

papaaisaway said:

We need to do top ten reasons for why Breaking News is breaking bullshit.

10. Hee-hee's in wrong place

09. No sign of a proper shamone in that mutha

08. This would be a typical angry Jackson song and there's not one "ack!" or a dismissive "dah!" to be heard

07. When MJ sings in a faster tempo he's sometimes unintelligible and you need three or four lessons to work out what he's said. I understood every word of that bullshit from the get-go

06. No beat-boxing to accompany the drum track

05. Not a single "daggone it!"

04. It sounds like Jason Malachi

03. It sounds wack (see number 4 above)

02. MJ never referred to himself in the third person before in song

01. And if he did............ he wouldn't call himself "Miku Jaschksin!"

Can we memo this to Sony?

Yes!

Timmy84 said:

MyLuv229 said:

Can we memo this to Sony?

Yes!

LOL!

My friends...

I think it's time for a hostile takeover of Sony. When shall we draw up plans?

Oprah Posts 600th Week As No.1 Talk Show & Hits Season High With The Jackson Kids

Oprah's highly publicized sitdown with Michael Jackson's parents and kids yesterday drew an 8.1 household rating, a season high for the talk show queen, now in the final season of her syndicated talk show. The episode, Oprah Talks To Michael Jackson’s Mother, Katherine, And Visits With His Children, was also Oprah's highest-rated episode in a year, since her interview with Sarah Palin last November. Oprah, of course, had a ratings smash with her 1993 Michael Jackson special.

http://www.deadline.com/2010/11/oprah-posts-600th-week-as-no-1-talk-show-hits-season-high-with-the-jackson-kids/

^ Well, are they happy now?

They got their ratings....

mookie said:

Oprah Posts 600th Week As No.1 Talk Show & Hits Season High With The Jackson Kids

Oprah's highly publicized sitdown with Michael Jackson's parents and kids yesterday drew an 8.1 household rating, a season high for the talk show queen, now in the final season of her syndicated talk show. The episode, Oprah Talks To Michael Jackson’s Mother, Katherine, And Visits With His Children, was also Oprah's highest-rated episode in a year, since her interview with Sarah Palin last November. Oprah, of course, had a ratings smash with her 1993 Michael Jackson special.

http://www.deadline.com/2010/11/oprah-posts-600th-week-as-no-1-talk-show-hits-season-high-with-the-jackson-kids/

I just watched the Oprah interview. Jacksons shouldn't do interviews. They are never good at them. Katherine didn't know what to say half the time. She's give one word answers like "yes", and then Oprah wouldn't know what to say, and it just got really awkward.

But I loved when Joe came out. That was the best bit. He tried to deny beating his kid and then Katherine says "you might as well just admit it" lol. Katherine's really honest. That was one good thing about her in this interview. She was really honest about Michael's plastic surgery and what he did to his skin. Everyone knows he had vitiligo, but everyone also suspected he did something else to his skin as a result of having vitiligo. He did bleach his skin. It was to cover the blotches, not because he didn't want to be black. But he did bleach his skin, and it's good to hear Katherine admit it.

Paris, like always, was very well spoken in this interview. Was it only Michael who taught her to speak? Seems like there must have been someone else around, a voice trainer or someone. Because Michael didn't really speak well. He didn't pronounce words properly. So it's surprising that Paris speaks so well.

Also, Blanket is Michael's kid. It was even more obvious in this interview than it ever has been. He even acted like Michael did when he was a kid. All shy and everything while Prince and Paris seemed to exude confidence. And he looks a lot like Michael's kid. I think Michael's only linege is Blanket. Or as Katherine called him "the baby". That was hilarious. "Prince, Paris and the baby". The baby who she also said will be in 4th grade next year, lol. Maybe she just doesn't like the name "Blanket".

I've always wondered about that. When is he going to grow out of the name "Blanket"? "Blanket" was just a cute name Michael called him when he was a baby. It's not his real name. Isn't his real name Michael Jackson Jr. or Michael Jackson II? When are his siblings and his extended family going to start calling him "Michael" or "Mikey" or something? There's no confusion anymore, obviously, because the father Michael is unfortunatly not with us. So they don't have to call him a name other than "Michael" to avoid confusion, do they? He's in 4th grade next year, surely it's time for him to grow out of "Blanket". Hopefully they don't send the poor kid off to school as "Blanket Jackson". He's "Michael Jackson", now that his father Michael Jackson isn't around.

[Edited 11/9/10 21:27pm]

Actually his full name is Prince Michael Joseph Jackson II.

^

I just watched it right now...

I hate to compare but seriously, Michael (or Blanket) sounds just like young Mike. When he said that Prince could get away with things more than him, I thought I was hearing young Mike.... When he was hiding behind someone then he suddenly appeared, it was so Mike-like to do. I know, I know I shouldn't compare them both but seriously, he reminds me too much of Michael.

It kinda made me want to cry again....

Paris was gorgeous. I love how intelligent and confident she is. It's great how she was kinda subtly fighting Oprah's questions. I love her. You can tell she's a fighter.

Prince is shy. I can tell he's more nervous and uncomfortable. But like Paris, he answered things in an intelligent way.

I can't believe how fast they grew up. ;___; Man, I remember being only 12 and watching Bashit's documentary back in 2003... and Prince and Paris were still tiny things...and Blankie was still a baby. Heck even last year, they were all still so small. Last year, Michael was still with them.... (cries)

Exclusive: The Inside Story Behind Michael Jackson's Controversial New Song and Album

Since Michael Jackson's untimely death in June of 2009, speculation has run rampant about the music he left behind. How much is there? How finished are the songs? What is the quality of the material? And how and when will it be released?

Over the course of writing and researching my forthcoming book, Man in the Music: The Creative Life and Work of Michael Jackson (Sterling 2011), I was fortunate enough to take an in-depth look at Jackson's entire catalog--including the work he was engaged in during his final years. My sources worked closely with the King of Pop throughout his life and have been trustworthy and dependable throughout the five-year process of the book; therefore I feel confident with what I have learned about the material poised to appear on his forthcoming album, Michael.

A notorious perfectionist, Jackson always over-recorded. There are at least one hundred songs over the course of his solo career that did not make it onto his major albums. Some of those have already appeared on special editions and collections; others have leaked online in various forms; and many others have never been heard.

At midnight on November 8th, MichaelJackson.com streamed the first official song from the archives (excluding the early-Eighties demo, "This Is It," which was included as part of the companion album to the film of the same name). Even before its release, however, controversy surrounded "Breaking News" and the other so-called "Cascio tracks." The conversation has only intensified since then.

Predictably, little of that conversation has been about the content of the new track: the exceptionally ominous strings in the intro, its "Off the Wall"-esque chorus, or its signature Jackson indictment of a media that feeds on "breaking news" (read: scandals) with obsessive compulsion ("No matter what/ You just want to read it again"). Nor has much attention been given to the work of talented producer and longtime-Jackson friend, Teddy Riley, who gives the song a fresh but faithful sheen.

The irony, of course, is this is how Jackson's music has been received for decades, the substance overlooked in favor of sensationalism and distracting controversy. Yet part of it would no doubt bring a knowing smile to the man who once claimed he wanted to make his whole life "the greatest show on earth." Long before Lady Gaga, Michael Jackson was engaging artistically with both the monstrosity and allure of fame.

In "Breaking News," Jackson not only delivers his message, but anticipates the way it will be received. In one verse, he lashes out at those anxious to "write his obituary." In the chorus, he asks his listening audience, as he did throughout his career, who they project him to be: Is he the "boogieman" (a constructed monstrous figure) we're thinking of?

Certainly, by 2007 (the year in which "Breaking News" was recorded), he had learned how vicious and entrapping a lifetime in the spotlight could be. The previous two years he had been living as a vagabond, traveling from the Middle Eastern-island of Bahrain to the countryside of Ireland to a private chateau in Las Vegas. In the fall of 2007, he showed up with his children at the doorstep of his longtime friends, the Cascios, in Franklin Lakes, New Jersey. Jackson had been close to the Cascio family for nearly twenty years. During that time, they never once betrayed him for tabloid money (in spite of many offers), but showed him loyalty and allowed him a sense of normalcy he couldn't often enjoy. In the program at Jackson's funeral they are referred to as "the First Family of Love."

Jackson stayed with the Cascios for nearly four months and, along with Frank Cascio, Eddie (Angel) Cascio, and singer James Porte (aka Bobby Ewing), engaged in some of his most sustained recording since before his 2005 trial. Three songs created during these sessions are expected to appear on Jackson's new album, including "Breaking News" and "Monster," both of which Jackson co-wrote. During his time in New Jersey, Jackson also recorded vocals for Thriller 25, which was released in 2008.

Beyond the Cascios, several people close to Jackson were familiar with his work in New Jersey. He mentioned to these people that he was "excited" about the work he and the Cascios had generated. According to Jackson's longtime friend and manager, Frank Dileo, Jackson planned to have recording equipment brought to London during his 02 concert series so he could finalize some of his latest music.

The first of the Cascio tracks to be heard--"Breaking News"--obviously isn't a perfect realization of Jackson's abilities. Receiving the most critical attention are Jackson's vocals, the veracity of which even some family and fans are questioning. There are understandable reasons for this. This certainly isn't a "typical" Jackson recording: there weren't extensive warm ups with longtime vocal coach Seth Riggs, no layering and polishing by Jackson himself, no Bruce Swedien and world-class studio technology to capture the original vocal. This was a guide demo, supplemented by the supporting vocals of James Porte (for which he is credited), and produced nearly four years later by Teddy Riley.

Riley, who first began working with Jackson in the early Nineties, found it emotionally difficult to complete the unfinished work of his late friend. To tap into his inspiration, Riley had photographer Harrington Funk surround him with pictures of the singer. "That was the only thing to keep me sane, and not go crazy while I'm working," said Riley. "Because, you know, it would come out on the music if you hear me banging on the keyboards with tears coming out of my eyes."

Riley said his fundamental motivation was to extend the legacy of a friend. He approached the tracks, therefore, not attempting to overly embellish, but simply to fill in the best he could. His guiding thought was: "What would Michael want?" He even brought sounds Jackson had him record from previous sessions. The final product, of course, is an approximation. But for Riley it was a labor of love.

It wasn't until Riley submitted his work, and three of the songs were accepted by Sony for the album, that the controversy began. Certain individuals--some with noble intentions, some less so--began expressing concerns about the authenticity of the vocals. These concerns were taken seriously by Jackson's Estate. Attorney Howard Weitzman was asked by estate co-executors John Branca and John McClain to conduct a thorough investigation of the authenticity of the Cascio tracks. The Estate, after all, had a lot to lose if the tracks were fraudulent. Since Jackson's death, by all accounts, it had done a masterful job of preserving and enhancing the artist's legacy, including the release of the highest-grossing concert documentary film of all time (This Is It), a new music video collection (Michael Jackson's Vision), a Jackson-themed video game (Michael Jackson: The Experience), a groundbreaking show with Cirque du Soliel ("Michael Jackson: The Immortal World Tour"), and the biggest recording contract in popular music history.

Perhaps just as important, the Estate had passed on numerous deals, selecting only a handful of projects it felt were worthy of Jackson's name. Risking the substantial credibility it had established amongst both fans and critics for a handful of questionable tracks would have been reckless at best (for Sony as well, who had invested over $200 million dollars on the singer's posthumous projects).

In spite of Jackson's close relationship with the Cascios, therefore, the Estate certainly didn't accept them on blind faith. The Estate invited four of Jackson's primary engineers over the past thirty years, three producers who had worked with Jackson (including Teddy Riley), and spoke to one of the musicians that had worked with Michael over the years and who had also contributed to one of the Cascio tracks. Each of them listened to the a cappella version of the vocals on the Cascio tracks without any musical accompaniment so that they could give an opinion as to whether or not the lead vocals on the Cascio tracks were sung by Jackson. To a person they all confirmed that the vocal was definitely Michael Jackson. These engineers, producers and musicians are all people Jackson trusted and whose names would be very familiar to Jackson's fans.

In addition, at the request of John Branca and John McClain, Howard Weitzman retained one of the best known forensic musicologists in the nation to listen to the a cappella vocals and compare them with a cappella vocals from previously known Jackson songs. This expert performed waveform analysis, an objective scientific procedure, and found that all of the vocals were the voice of Michael Jackson.

Sony Music conducted its own investigation by hiring a second well-respected forensic musicologist who also compared the raw vocals from the Cascio tracks against known vocals of Jackson's and found that it was Jackson's voice on both sets of the compared vocals.

The Cascio tracks were also played for two of the most significant people in the music industry who played crucial roles in Jackson's career. Both of these individuals believe that the vocals are those of Michael Jackson.

It was also specifically verified that the vocals did not belong to well-known Jackson impersonator, Jason Malachi.

The results of this exhaustive investigation confirmed Sony's belief that the songs submitted by the Estate all contained authentic Michael Jackson vocals. The decision was therefore made to include three of the Cascio tracks on Michael. Other tracks will likely be included on future albums of unreleased material.

While these are not perfectly realized tracks--as no posthumous material can be--there is certainly much to appreciate. The Cascio tracks represent, after all, some of the last work Jackson ever wrote and recorded. It wasn't ready to be released, but then, Jackson wasn't ready to die.

"Breaking News," "Monster," "Hold My Hand" and the rest of the tracks that comprise Michael are, similar to the This Is It documentary, fragments of an unfinished vision. They aren't all the polished, perfectionist-Michael Jackson people are accustomed to, but they are him, and what some of his closest friends and collaborators felt his fans deserved to hear.

source: http://www.huffingtonpost...81364.html

SherryJackson said:

I wanna hear the snippets! Someone orgNote me with them!

Me, too.

Swa said:

Exclusive: The Inside Story Behind Michael Jackson's Controversial New Song and Album

Since Michael Jackson's untimely death in June of 2009, speculation has run rampant about the music he left behind. How much is there? How finished are the songs? What is the quality of the material? And how and when will it be released?

Over the course of writing and researching my forthcoming book, Man in the Music: The Creative Life and Work of Michael Jackson (Sterling 2011), I was fortunate enough to take an in-depth look at Jackson's entire catalog--including the work he was engaged in during his final years. My sources worked closely with the King of Pop throughout his life and have been trustworthy and dependable throughout the five-year process of the book; therefore I feel confident with what I have learned about the material poised to appear on his forthcoming album, Michael.

A notorious perfectionist, Jackson always over-recorded. There are at least one hundred songs over the course of his solo career that did not make it onto his major albums. Some of those have already appeared on special editions and collections; others have leaked online in various forms; and many others have never been heard.

At midnight on November 8th, MichaelJackson.com streamed the first official song from the archives (excluding the early-Eighties demo, "This Is It," which was included as part of the companion album to the film of the same name). Even before its release, however, controversy surrounded "Breaking News" and the other so-called "Cascio tracks." The conversation has only intensified since then.

Predictably, little of that conversation has been about the content of the new track: the exceptionally ominous strings in the intro, its "Off the Wall"-esque chorus, or its signature Jackson indictment of a media that feeds on "breaking news" (read: scandals) with obsessive compulsion ("No matter what/ You just want to read it again"). Nor has much attention been given to the work of talented producer and longtime-Jackson friend, Teddy Riley, who gives the song a fresh but faithful sheen.

The irony, of course, is this is how Jackson's music has been received for decades, the substance overlooked in favor of sensationalism and distracting controversy. Yet part of it would no doubt bring a knowing smile to the man who once claimed he wanted to make his whole life "the greatest show on earth." Long before Lady Gaga, Michael Jackson was engaging artistically with both the monstrosity and allure of fame.

In "Breaking News," Jackson not only delivers his message, but anticipates the way it will be received. In one verse, he lashes out at those anxious to "write his obituary." In the chorus, he asks his listening audience, as he did throughout his career, who they project him to be: Is he the "boogieman" (a constructed monstrous figure) we're thinking of?

Certainly, by 2007 (the year in which "Breaking News" was recorded), he had learned how vicious and entrapping a lifetime in the spotlight could be. The previous two years he had been living as a vagabond, traveling from the Middle Eastern-island of Bahrain to the countryside of Ireland to a private chateau in Las Vegas. In the fall of 2007, he showed up with his children at the doorstep of his longtime friends, the Cascios, in Franklin Lakes, New Jersey. Jackson had been close to the Cascio family for nearly twenty years. During that time, they never once betrayed him for tabloid money (in spite of many offers), but showed him loyalty and allowed him a sense of normalcy he couldn't often enjoy. In the program at Jackson's funeral they are referred to as "the First Family of Love."

Jackson stayed with the Cascios for nearly four months and, along with Frank Cascio, Eddie (Angel) Cascio, and singer James Porte (aka Bobby Ewing), engaged in some of his most sustained recording since before his 2005 trial. Three songs created during these sessions are expected to appear on Jackson's new album, including "Breaking News" and "Monster," both of which Jackson co-wrote. During his time in New Jersey, Jackson also recorded vocals for Thriller 25, which was released in 2008.

Beyond the Cascios, several people close to Jackson were familiar with his work in New Jersey. He mentioned to these people that he was "excited" about the work he and the Cascios had generated. According to Jackson's longtime friend and manager, Frank Dileo, Jackson planned to have recording equipment brought to London during his 02 concert series so he could finalize some of his latest music.

The first of the Cascio tracks to be heard--"Breaking News"--obviously isn't a perfect realization of Jackson's abilities. Receiving the most critical attention are Jackson's vocals, the veracity of which even some family and fans are questioning. There are understandable reasons for this. This certainly isn't a "typical" Jackson recording: there weren't extensive warm ups with longtime vocal coach Seth Riggs, no layering and polishing by Jackson himself, no Bruce Swedien and world-class studio technology to capture the original vocal. This was a guide demo, supplemented by the supporting vocals of James Porte (for which he is credited), and produced nearly four years later by Teddy Riley.

Riley, who first began working with Jackson in the early Nineties, found it emotionally difficult to complete the unfinished work of his late friend. To tap into his inspiration, Riley had photographer Harrington Funk surround him with pictures of the singer. "That was the only thing to keep me sane, and not go crazy while I'm working," said Riley. "Because, you know, it would come out on the music if you hear me banging on the keyboards with tears coming out of my eyes."

Riley said his fundamental motivation was to extend the legacy of a friend. He approached the tracks, therefore, not attempting to overly embellish, but simply to fill in the best he could. His guiding thought was: "What would Michael want?" He even brought sounds Jackson had him record from previous sessions. The final product, of course, is an approximation. But for Riley it was a labor of love.

It wasn't until Riley submitted his work, and three of the songs were accepted by Sony for the album, that the controversy began. Certain individuals--some with noble intentions, some less so--began expressing concerns about the authenticity of the vocals. These concerns were taken seriously by Jackson's Estate. Attorney Howard Weitzman was asked by estate co-executors John Branca and John McClain to conduct a thorough investigation of the authenticity of the Cascio tracks. The Estate, after all, had a lot to lose if the tracks were fraudulent. Since Jackson's death, by all accounts, it had done a masterful job of preserving and enhancing the artist's legacy, including the release of the highest-grossing concert documentary film of all time (This Is It), a new music video collection (Michael Jackson's Vision), a Jackson-themed video game (Michael Jackson: The Experience), a groundbreaking show with Cirque du Soliel ("Michael Jackson: The Immortal World Tour"), and the biggest recording contract in popular music history.

Perhaps just as important, the Estate had passed on numerous deals, selecting only a handful of projects it felt were worthy of Jackson's name. Risking the substantial credibility it had established amongst both fans and critics for a handful of questionable tracks would have been reckless at best (for Sony as well, who had invested over $200 million dollars on the singer's posthumous projects).

In spite of Jackson's close relationship with the Cascios, therefore, the Estate certainly didn't accept them on blind faith. The Estate invited four of Jackson's primary engineers over the past thirty years, three producers who had worked with Jackson (including Teddy Riley), and spoke to one of the musicians that had worked with Michael over the years and who had also contributed to one of the Cascio tracks. Each of them listened to the a cappella version of the vocals on the Cascio tracks without any musical accompaniment so that they could give an opinion as to whether or not the lead vocals on the Cascio tracks were sung by Jackson. To a person they all confirmed that the vocal was definitely Michael Jackson. These engineers, producers and musicians are all people Jackson trusted and whose names would be very familiar to Jackson's fans.

In addition, at the request of John Branca and John McClain, Howard Weitzman retained one of the best known forensic musicologists in the nation to listen to the a cappella vocals and compare them with a cappella vocals from previously known Jackson songs. This expert performed waveform analysis, an objective scientific procedure, and found that all of the vocals were the voice of Michael Jackson.

Sony Music conducted its own investigation by hiring a second well-respected forensic musicologist who also compared the raw vocals from the Cascio tracks against known vocals of Jackson's and found that it was Jackson's voice on both sets of the compared vocals.

The Cascio tracks were also played for two of the most significant people in the music industry who played crucial roles in Jackson's career. Both of these individuals believe that the vocals are those of Michael Jackson.

It was also specifically verified that the vocals did not belong to well-known Jackson impersonator, Jason Malachi.

The results of this exhaustive investigation confirmed Sony's belief that the songs submitted by the Estate all contained authentic Michael Jackson vocals. The decision was therefore made to include three of the Cascio tracks on Michael. Other tracks will likely be included on future albums of unreleased material.

While these are not perfectly realized tracks--as no posthumous material can be--there is certainly much to appreciate. The Cascio tracks represent, after all, some of the last work Jackson ever wrote and recorded. It wasn't ready to be released, but then, Jackson wasn't ready to die.

"Breaking News," "Monster," "Hold My Hand" and the rest of the tracks that comprise Michael are, similar to the This Is It documentary, fragments of an unfinished vision. They aren't all the polished, perfectionist-Michael Jackson people are accustomed to, but they are him, and what some of his closest friends and collaborators felt his fans deserved to hear.

source: http://www.huffingtonpost...81364.html

Monster is even worse than Breaking News. It opens up with vocals from Ghosts and On the Line.

That article sounds like typical tabloid stuff. They shit on his legit work (even in the article you just posted!) and defend shit the fans don't like. Unbelievable.

Huffington Post is one site I can't stand.

bboy87 said:

So of the 6 snippets I've heard

All I Need- the first 3 seconds sound like Michael, the rest? NOPE
Blue Gangsta- MICHAEL
Carry On- nope
Much Too Soon- MICHAEL
Love Never Felt So Good- MICHAEL
Another Day- MICHAEL

Sony needs to take All I Need, Carry On, Monster, and Breaking News off the album ASAP

DITTO!

I hope they don't put "Love Never Felt So Good" on the album. Bad enough they're trying to put "Hold My Hand" on there. These records are already heavily bootlegged.

Timmy84 said:

Huffington Post is one site I can't stand.

They don't name the confirmation producers or engineers.

It's like my journalism teacher once told me...

Having Anonymous sources is the equivalent to saying absolutely nothing....

Demos my ass,

in this day and age of computer musical technology,

THERE ARE NO DEMOS!

somebody lying......

It's just a complete bullshit argument to refer to the recordings being "unfinished" or "work in progress" and sounding different to that reason. Those are professional recordings and nothing in the vocal delivery suggests that "Michael" was still working on them. You don't start sounding like a different person if your vocal coach isn't brought in or the takes aren't doubled like Jackson does on his records. When Jackson wasn't capable of pulling off a good vocal he simply sang out of key, lost his breath or started sort of mumbling. We've all heard that on the demos and on the live recordings.

The article is written in an attempt to convince readers that have never been involved in a recording process. It belittles its readers and tries to dupe them into thinking they aren't capable of understanding how vocals are tracked. Well, people are perfectly capable of judging these things by using their ears.

That article also tries to convince its reasons simply with its length. None of the real issues at hand are addressed, but there's a lot of trivial information mentioned instead. Those recordings being authentic or not have nothing whatsoever to do with Teddy Riley surrounding himself with pictures of Michael Jackson while working on the material.

It's funny because out of all the MJ demos that's been leaked/released, he mumbles a decent amount of the lyrics due to them not being complete. These songs (Monster/Breaking News) are NOT demos. That shit sounds mixed and damn near mastered.

ViintageJunkiie said:

It's funny because out of all the MJ demos that's been leaked/released, he mumbles a decent amount of the lyrics due to them not being complete. These songs (Monster/Breaking News) are NOT demos. That shit sounds mixed and damn near mastered.

Precisely,

I agree with Nova as well, they're belittling fans, and those not in the know on the recording process.

DEMO, or Real track, VOCALS are all tracked the same way. I've been recording for 8 years now.

Mics, equipment those are all just colors...

Essentially the magic is always in the performance and the performer.

So they're patronizing B.S. about trying to release songs they think the fans should here is a crock.

EVEN if those songs were MJ's they shouldn't be released because they're horrible songs.

What they're really doing is trying to make a profit on mediocrity.

It's like what Prince said about the industry, back in the day.

"All it cares about is that "kids" on the Internet r downloading MP3s of the one hit song on the latest crappy release they put out with a huge promotional campaign, hoping 2 sell 2 million copies of the album when there is actually only one decent song on it. They don't care about copyright infringement. They only care about lost sales."

Now that Michael is gone, and can't supervise these releases himself, for artistic purposes...

They are free in clear to go through his catalogue and milk it for everything they can...

so, I say emphatically

Fuck Sony & Epic...

EmbattledWarrior said:

Timmy84 said:

Huffington Post is one site I can't stand.

They don't name the confirmation producers or engineers.

It's like my journalism teacher once told me...

Having Anonymous sources is the equivalent to saying absolutely nothing....

Demos my ass,

in this day and age of computer musical technology,

THERE ARE NO DEMOS!

somebody lying......

Thank you. Can't believe how gullible some people can be. They act like it's 1991 in this bitch. "Oh no one will recognize the difference." Fuck outta here with that.

Timmy84 said:

EmbattledWarrior said:

They don't name the confirmation producers or engineers.

It's like my journalism teacher once told me...

Having Anonymous sources is the equivalent to saying absolutely nothing....

Demos my ass,

in this day and age of computer musical technology,

THERE ARE NO DEMOS!

somebody lying......

Thank you. Can't believe how gullible some people can be. They act like it's 1991 in this bitch. "Oh no one will recognize the difference." Fuck outta here with that.

Of course people record DEMOS! I'm sorry but that is fucking stupid. When you are writing in a studio the result may turn into the actual record but to start with it's a DEMO!!!!

This conspiracy bullshit that started with the Jackson Family is ridiculous. I hope that Breaking News becomes the first single & track 1 on the album now.

aiden said:

Timmy84 said:

Thank you. Can't believe how gullible some people can be. They act like it's 1991 in this bitch. "Oh no one will recognize the difference." Fuck outta here with that.

Of course people record DEMOS! I'm sorry but that is fucking stupid. When you are writing in a studio the result may turn into the actual record but to start with it's a DEMO!!!!

This conspiracy bullshit that started with the Jackson Family is ridiculous. I hope that Breaking News becomes the first single & track 1 on the album now.

Because of the Cost of studio time DEMO's have lived out there purpose.

The closest thing you'll hear to a demo these days is a scatch take.

Which is the first take of the song recorded.

This is used fundamentally for the producer to build around and produce the track from bottom up.

That scratch take can consist of the full vocal melody or mumbles, what mj does when he doesn't have all the lyrics down...

You can call it a demo, but demo's the way they where recorded 10 to 20 years ago where recorded completely differently.

Demos before had a sample of what production would look like.

good example of these are Serious effect, by MJ what was the other one Monkey Bone? I forget.

Those are traditional demos

Demos as they're made today have almost exactly the same sophistication as a professional recording

Compare the Dangerous Outtakes to the Invincible Outtakes...

You'll hear infinitely better quality.

Why? because the preproduction is damn near abysmal...

The goal is to finish a song, or have a song sound finished, the moment you first record it.

The extreme technological advances in the audio area have allowed this to take place.

This has consequently made a fast pace music world...

So I reemphasize...

with the right laptop, right recording software...

You'll have professional sounding music the moment you cut it...

Demo's

are a thing of the past.

Who thinks Breaking News, All I Need, Carry On, and Monster are gonna be on the album when it hits stores on the 14th?

bboy87 said:

Who thinks Breaking News, All I Need, Carry On, and Monster are gonna be on the album when it hits stores on the 14th?

I don't think it would but who knows?

bboy87 said:

Who thinks Breaking News, All I Need, Carry On, and Monster are gonna be on the album when it hits stores on the 14th?

If they are, I'm not buying it. If I want to hear vocals from Ghosts, On The Line, You Rock My World, etc... I'll listen to those tracks. Supposedly, some guy name Bobby Ewing aka James Porte has "supplemented" Mike's vocals.

Who the hell knows what they mean by "supplement". Backing vocals? Or most of the vocals.

If these tracks are MJ, and that's a big if, then my guess is the original tracks were even weaker than In The Back, and they had someone try to complete the songs. Can you imagine if someone tried to turn In The Back into a complete and coherent song?

Timmy84 said:

bboy87 said:

Who thinks Breaking News, All I Need, Carry On, and Monster are gonna be on the album when it hits stores on the 14th?

I don't think it would but who knows?

I mean if they're not gonna be able to control the damage.

The smartest bet is to release the album with those tracks ommitted...

no harm no foul...

EmbattledWarrior said:

Timmy84 said:

I don't think it would but who knows?

I mean if they're not gonna be able to control the damage.

The smartest bet is to release the album with those tracks ommitted...

no harm no foul...

If the album is already pressed (which is a possibility), how long do you think could it take for them to press new versions if the songs are omitted or replaced?

aiden said:

Timmy84 said:

Thank you. Can't believe how gullible some people can be. They act like it's 1991 in this bitch. "Oh no one will recognize the difference." Fuck outta here with that.

Of course people record DEMOS! I'm sorry but that is fucking stupid. When you are writing in a studio the result may turn into the actual record but to start with it's a DEMO!!!!

This conspiracy bullshit that started with the Jackson Family is ridiculous. I hope that Breaking News becomes the first single & track 1 on the album now.

How can you be a musician and say all of that...Hope you don't do gigs cause your ears need to be double checked. The acapella is there jason maalchi is there on youtube and you still say it's Mike? Fuck outta here.

bboy87 said:

EmbattledWarrior said:

I mean if they're not gonna be able to control the damage.

The smartest bet is to release the album with those tracks ommitted...

no harm no foul...

If the album is already pressed (which is a possibility), how long do you think could it take for them to press new versions if the songs are omitted or replaced?

Hmm is it already pressed? I mean they had to make several edits of the album cover.

EmbattledWarrior said:

aiden said:

Of course people record DEMOS! I'm sorry but that is fucking stupid. When you are writing in a studio the result may turn into the actual record but to start with it's a DEMO!!!!

This conspiracy bullshit that started with the Jackson Family is ridiculous. I hope that Breaking News becomes the first single & track 1 on the album now.

Because of the Cost of studio time DEMO's have lived out there purpose.

The closest thing you'll hear to a demo these days is a scatch take.

Which is the first take of the song recorded.

This is used fundamentally for the producer to build around and produce the track from bottom up.

That scratch take can consist of the full vocal melody or mumbles, what mj does when he doesn't have all the lyrics down...

You can call it a demo, but demo's the way they where recorded 10 to 20 years ago where recorded completely differently.

Demos before had a sample of what production would look like.

good example of these are Serious effect, by MJ what was the other one Monkey Bone? I forget.

Those are traditional demos

Demos as they're made today have almost exactly the same sophistication as a professional recording

Compare the Dangerous Outtakes to the Invincible Outtakes...

You'll hear infinitely better quality.

Why? because the preproduction is damn near abysmal...

The goal is to finish a song, or have a song sound finished, the moment you first record it.

The extreme technological advances in the audio area have allowed this to take place.

This has consequently made a fast pace music world...

So I reemphasize...

with the right laptop, right recording software...

You'll have professional sounding music the moment you cut it...

Demo's

are a thing of the past.

Thanks for the lesson

EmbattledWarrior said:

Timmy84 said:

I don't think it would but who knows?

I mean if they're not gonna be able to control the damage.

The smartest bet is to release the album with those tracks ommitted...

no harm no foul...

I'm thinking they're still gonna make a couple folks buy into it. Hell one of them just happens to be in this thread right now.

This is gonna be one weird album, man.

Hmm. Pressing new CDs could take a few weeks. Usually they'll say something like it takes 4-8 weeks to press a few hundred thousand copies, but that's not really the case. They've already handled the logistics, I assume. So it would be just a matter of making a few quick decisions and not letting corporate bullshit get in the way. Them doing changes to the artwork still at this point suggests that the booklets haven't been printed out yet.

I assume a company like Sony isn't really paying that much per each CD pressed. Probably less than a dollar each? Most of the costs come from simply running the organization and paying for the people involved in the process. I'm not sure if major record companies press the artwork and CDs at the same plant - I know many smaller companies don't.

I seriously hope someone at a high position in that company isn't a complete moron and stops this before it's too late. I feel the same way as Taryll Jackson in his comment that simply stated that he is baffled the whole thing has gotten so far without anyone stopping it.

This is almost like "Hey Hannigan" or "Oh Sheila" appearing on the next Prince compilation disc released by WB.

[Edited 11/10/10 1:23am]