^^^^ that sucks that there will be no more from the vault

bigd74 said:

^^^^ that sucks that there will be no more from the vault

It really does, why not more unreleased music?

They're most likely holding off for now. Besides, the deal with Sony is done next year.

1. This Is It- Soundtrack

2. Michael

3. Michael Jackson's Vision

4. Immortal- Soundtrack Album

5. Bad25

6. Bad 25- The Documentary

7. Xscape

8. Off The Wall CD/DVD

9. Michael Jackson's Journey from Motown to Off The Wall

10. Thriller project 2017

Looking at that list as well as the standalone release of the Live in Wembley DVD, The Ultimate Fan Extras Collection iTunes release, it's possible the Thriller project they and Landis are working on fulfills the contract

bigd74 said:

^^^^ that sucks that there will be no more from the vault

Yuuuuup just release it the way it was, no tinkering for using soundalikes, bits from other songs to fill in the gaps.

Do you think distribution deals will be signed from thereon? And this whole no more from the vault is just a hook to keep us interested?

I feel like most have moved on from him now, but I hope I'm wrong. He will always speak to our generation musically and the younger one that discovered him and with those influenced by him speaking highly of him, but I worry about the future when we're all gone sometimes, cause of history being appropriated, music included. I hope the younger ones will continue paying tributes online, on tv shows, incorporating him into music (the way elvis was in 2002 with electro pop) and things like that if done very tastefully , and that hip hop storytelling keeps him alive too as kanye does.

[Edited 11/23/16 23:22pm]

alphastreet said:

His Estate is worthless and has lost so much credibility this year. They should release more of his songs especially after selling off his greatest asset smh. Michael has a lot of unreleased music they can give to his fans.

bboy87 said:

They're most likely holding off for now. Besides, the deal with Sony is done next year.

1. This Is It- Soundtrack

2. Michael

3. Michael Jackson's Vision

4. Immortal- Soundtrack Album

5. Bad25

6. Bad 25- The Documentary

7. Xscape

8. Off The Wall CD/DVD

9. Michael Jackson's Journey from Motown to Off The Wall

10. Thriller project 2017

Looking at that list as well as the standalone release of the Live in Wembley DVD, The Ultimate Fan Extras Collection iTunes release, it's possible the Thriller project they and Landis are working on fulfills the contract

I just wish they would something with Ghosts (1996)

heathilly said:

Good article

http://www.makingmichael.co.uk/single-post/2016/05/02/Inside-the-Dangerous-sessions

alphastreet said:

heathilly said:

alphastreet said:

Michael Jackson's 'Dangerous' Is 25 Years Old, but the World It Saw Looks Like the Present https://noisey.vice.com/e...he-present

heathilly said:

alphastreet said:

Definitely not forgotten, I've seen too much too when growing up, I was talking about his overall image and persona outside of the art being manipulated. I hope that's not a problem cause I would rather his character be given respect over anything else.

That idk its dependent on his fans and estate and lineage to combat that.

There never would be a need to combate anything if the false image did not introduce itself with most of the today's fan community over the past 20 years continues to try to uphold.

The false image is what turned everything off its axis.

Instead of being remember as "the king of pop", he would have no doubt unequivocally went down in history as the greatest musician ever....

but now with cohorts holding the keys, they are in position to dictate whatever it is they want to in whatever the situation calls for to benefit from it.

Take that false image out the equation, everything would be exactly where it should be

that's the promise that was lost

Fans, the public, cohorts, and all should take the proper steps and the measures to make sure nothing like this ever happens again because how this story ended never should have ended the way it did

Goddess4Real said:

Scorp said:

Who Is It: An Appreciatio...oggoneCity

Below is the complete text of Twitlonger from @DoggoneCity dated November 26, 2016 and link to original post is provided below.

James Brown, Prince, and Michael Jackson are the masters of rhythm in our time. And rhythm being nothing but eroticism set to time, their music, whatever its subject, has the effect of an aphrodisiac.

James Brown is the troubadour of gospel call-and-response that he made irresistibly combustible with his vocal inflections. Prince is the bacchanalian genius who revels in virtuosic experimentation and histrionic abandon. With Michael Jackson one finds something elusive and illusive. He can be feral like James Brown on his propulsive night train or devilishly insouciant like Prince in his scandalous love suite. But at its greatest, Michael Jackson’s music has something else, the quality of hallucination. His most compelling stories in sound, whether about extortion (Billie Jean), rape (Smooth Criminal), prostitution (Who is It), exile (Stranger in Moscow), or addiction (Morphine) have a spectral grace, suspended in animation, dream-like, as in a mosaic. His concerts are essays in movement but also stillness, mysteriously hieratic, full of long poses and shifting choreographic tableaux punctuated by stops and silences. His videos abound in echoes, shadows, reflections, and transformations. Echoes reverberate across his songs as much as silhouettes do on his stage, across the taut bridge of Smooth Criminal, the lone synth on the spoken passages of In the Closet, the swirling vocal layering on Why You Wanna Trip on Me, the melancholic keyboard bridge in Stranger in Moscow, and the wistful whistles in Whatever Happens.

Who is It is a different kind of hallucination. That haunting intro with those soprano voices dying with a dying fall, like a dim breeze across a vast urban desert, harks back to the descending string punctuations of Billie Jean. And echoes permeate that famous Who Is It beat too. That cracked-heartbeat of a percussion that is on the face of it, a slowed-down homage to James Brown’s ‘I Got the Feeling’. But he uses that queue from James Brown only as a point of departure to create an alchemy of rhythm. Critics were puzzled and disoriented by the beats on Dangerous, one calling them “abrasively unpredictable”, and another “like computerised artificial respiration”. But that’s the point. The cracked-heartbeat of a percussion in Who Is It rises and falls in unpredictable patterns; the vocal hiccups both echo and syncopate the thudding drum machine and Louis Johnson’s bass in a ménage of cardiac gasps, retches, and shocks. What sound like three-note rhythmic motifs that echo the melismatic sighs in the soprano intro, are basically only two notes pounded alternatively and insistently in duple time, creating a rhythmic ambiguity, like a sort of dirge-like boogie throbbing precariously inside “one dying head”. It’s a masterpiece of invention, and why his beats are endlessly studied by contemporary producers. Take that gulping sob peppered throughout that syncs exactly with the beat – surely the funkiest crying ever recorded?’

He often said he preferred making his own sounds to using sounds from keyboards or programmed machines. The result being his beats have the heft of something organic, with the urgent restlessness of human breath rather than mechanised static (although he could do that too, in Morphine) even when borne on beds of drum machines. Also why I think he broke away from Quincy Jones. He wanted to channel back to the funk of a forty thousand years—the circular, repetitiveness of the vamp in Don’t Stop Til You Get Enough, the looping grooves of James Brown. One only need think of the molten bed of percussion in Can’t Let Her Get Away.

Much as MJ’s music is an invitation to dance, it also has an element of melancholy all his own. These shadows clothe his arrangements in a mystery, not unlike the sfumato in an Old Master painting, all smoky shadows, ambiguous modeling, shifting smiles. The suppleness of his percussion allows him to combine that icy Who Is It intro and ‘abrasive’ percussion with the most sinuous strings, which come at you in waves, circling but never resolving. And there’re the seamless transitions from intro-verse-bridge-chorus-outro-fade-out. His vocal delivery too is full of light and shadow, his voice smooth, imploring, caressing one moment, and then breaking out in harsh, coiled, turgid accents. It’s a method he started perfecting long ago in ‘Maria’.

That Who is It chorus is like a gospel incantation, a melody going on into infinity, like the soldiers under a twilight sun in This is It. It has the same harmonic profile as the throbbing rhythmic pattern of the beat; but the moment it seems like it is resolving, he destabilises it with the persistent ‘Who Is It?’, the question-and-answer of gospel—only that here it is several Michaels in a dialogue and self and soul, questions echoed with questions, as in a hall of mirrors, or as what Jon Pareles called ‘an electronic wilderness’. When the instrumental bridge comes in, it takes up the soprano theme of the intro, and then improvises it on the synth with the same echoing effect heard throughout, probing, questioning, rippling, and fading through an unending night, and engaging the strings as in a vast antiphonal choir in a church full of mosaics.

This mosaic-like quality of Who Is It is well-captured in David Fincher’s plush video with its purple shadows where surfaces reflect and refract, a world of smoky decadence, more urban and more desolate than the degenerate juke-joint of Smooth Criminal. When you think of it, mystery permeates so many of his videos and concerts. The man made an art out of disappearing, as if enacting the alchemy of rhythm through his body itself. Only through artifice he comes alive; his conceptions, always grand and operatic, are ringed everywhere by illusion: silhouettes, shadows, and mirrors. He vanishes into sand, shadows, smoke, mist, fire, leaping in, flying out. Never wanting to be chained to earth.

Who is It is a kind of cross-roads in his career, combining as it does his rhythmic invention and melodic sensibility. Henceforth, with some exceptions, there’s a dividing line between his jams and his ballads. The jams will be seething, with swaggering verses, clenched-teeth choruses acerbic, wrought-iron beds of percussion and arrangements, all rhythm, with his voice sounding as if on the rack; and the ballads all melody, simpler, sweeter and more soaring.

The worst of showbiz always brings out the best in him, transmuting tales of treachery and feelings of disgust and loneliness into lusciousness that ravishes the ear. Always makes me think of what Alan Light said, “Michael Jackson’s finest song and dance is always sexually charged, tense, coiled – he is at his most gripping when he really is dangerous.”

https://mjjjusticeproject.wordpress.com/2016/11/29/who-is-it-an-appreciation-dangerous25-by-doggonecity/

HAPPYPERSON said:

Who Is It: An Appreciatio...oggoneCity

Below is the complete text of Twitlonger from @DoggoneCity dated November 26, 2016 and link to original post is provided below.

James Brown, Prince, and Michael Jackson are the masters of rhythm in our time. And rhythm being nothing but eroticism set to time, their music, whatever its subject, has the effect of an aphrodisiac.

James Brown is the troubadour of gospel call-and-response that he made irresistibly combustible with his vocal inflections. Prince is the bacchanalian genius who revels in virtuosic experimentation and histrionic abandon. With Michael Jackson one finds something elusive and illusive. He can be feral like James Brown on his propulsive night train or devilishly insouciant like Prince in his scandalous love suite. But at its greatest, Michael Jackson’s music has something else, the quality of hallucination. His most compelling stories in sound, whether about extortion (Billie Jean), rape (Smooth Criminal), prostitution (Who is It), exile (Stranger in Moscow), or addiction (Morphine) have a spectral grace, suspended in animation, dream-like, as in a mosaic. His concerts are essays in movement but also stillness, mysteriously hieratic, full of long poses and shifting choreographic tableaux punctuated by stops and silences. His videos abound in echoes, shadows, reflections, and transformations. Echoes reverberate across his songs as much as silhouettes do on his stage, across the taut bridge of Smooth Criminal, the lone synth on the spoken passages of In the Closet, the swirling vocal layering on Why You Wanna Trip on Me, the melancholic keyboard bridge in Stranger in Moscow, and the wistful whistles in Whatever Happens.

Who is It is a different kind of hallucination. That haunting intro with those soprano voices dying with a dying fall, like a dim breeze across a vast urban desert, harks back to the descending string punctuations of Billie Jean. And echoes permeate that famous Who Is It beat too. That cracked-heartbeat of a percussion that is on the face of it, a slowed-down homage to James Brown’s ‘I Got the Feeling’. But he uses that queue from James Brown only as a point of departure to create an alchemy of rhythm. Critics were puzzled and disoriented by the beats on Dangerous, one calling them “abrasively unpredictable”, and another “like computerised artificial respiration”. But that’s the point. The cracked-heartbeat of a percussion in Who Is It rises and falls in unpredictable patterns; the vocal hiccups both echo and syncopate the thudding drum machine and Louis Johnson’s bass in a ménage of cardiac gasps, retches, and shocks. What sound like three-note rhythmic motifs that echo the melismatic sighs in the soprano intro, are basically only two notes pounded alternatively and insistently in duple time, creating a rhythmic ambiguity, like a sort of dirge-like boogie throbbing precariously inside “one dying head”. It’s a masterpiece of invention, and why his beats are endlessly studied by contemporary producers. Take that gulping sob peppered throughout that syncs exactly with the beat – surely the funkiest crying ever recorded?’

He often said he preferred making his own sounds to using sounds from keyboards or programmed machines. The result being his beats have the heft of something organic, with the urgent restlessness of human breath rather than mechanised static (although he could do that too, in Morphine) even when borne on beds of drum machines. Also why I think he broke away from Quincy Jones. He wanted to channel back to the funk of a forty thousand years—the circular, repetitiveness of the vamp in Don’t Stop Til You Get Enough, the looping grooves of James Brown. One only need think of the molten bed of percussion in Can’t Let Her Get Away.

Much as MJ’s music is an invitation to dance, it also has an element of melancholy all his own. These shadows clothe his arrangements in a mystery, not unlike the sfumato in an Old Master painting, all smoky shadows, ambiguous modeling, shifting smiles. The suppleness of his percussion allows him to combine that icy Who Is It intro and ‘abrasive’ percussion with the most sinuous strings, which come at you in waves, circling but never resolving. And there’re the seamless transitions from intro-verse-bridge-chorus-outro-fade-out. His vocal delivery too is full of light and shadow, his voice smooth, imploring, caressing one moment, and then breaking out in harsh, coiled, turgid accents. It’s a method he started perfecting long ago in ‘Maria’.

That Who is It chorus is like a gospel incantation, a melody going on into infinity, like the soldiers under a twilight sun in This is It. It has the same harmonic profile as the throbbing rhythmic pattern of the beat; but the moment it seems like it is resolving, he destabilises it with the persistent ‘Who Is It?’, the question-and-answer of gospel—only that here it is several Michaels in a dialogue and self and soul, questions echoed with questions, as in a hall of mirrors, or as what Jon Pareles called ‘an electronic wilderness’. When the instrumental bridge comes in, it takes up the soprano theme of the intro, and then improvises it on the synth with the same echoing effect heard throughout, probing, questioning, rippling, and fading through an unending night, and engaging the strings as in a vast antiphonal choir in a church full of mosaics.

This mosaic-like quality of Who Is It is well-captured in David Fincher’s plush video with its purple shadows where surfaces reflect and refract, a world of smoky decadence, more urban and more desolate than the degenerate juke-joint of Smooth Criminal. When you think of it, mystery permeates so many of his videos and concerts. The man made an art out of disappearing, as if enacting the alchemy of rhythm through his body itself. Only through artifice he comes alive; his conceptions, always grand and operatic, are ringed everywhere by illusion: silhouettes, shadows, and mirrors. He vanishes into sand, shadows, smoke, mist, fire, leaping in, flying out. Never wanting to be chained to earth.

Who is It is a kind of cross-roads in his career, combining as it does his rhythmic invention and melodic sensibility. Henceforth, with some exceptions, there’s a dividing line between his jams and his ballads. The jams will be seething, with swaggering verses, clenched-teeth choruses acerbic, wrought-iron beds of percussion and arrangements, all rhythm, with his voice sounding as if on the rack; and the ballads all melody, simpler, sweeter and more soaring.

The worst of showbiz always brings out the best in him, transmuting tales of treachery and feelings of disgust and loneliness into lusciousness that ravishes the ear. Always makes me think of what Alan Light said, “Michael Jackson’s finest song and dance is always sexually charged, tense, coiled – he is at his most gripping when he really is dangerous.”

https://mjjjusticeproject.wordpress.com/2016/11/29/who-is-it-an-appreciation-dangerous25-by-doggonecity/

That's great, beautiful song i wish he would have left that cello had a more important role in the song.

EmmaMcG said:

aiden said:

Good comparison with p and Springsteen.. can't believe you like Invincible more than history though. I big into vinyl and earth song on vinyl is an event! I was lucky to meet the bass player on that track too. Rock my world is a classic though I agree with that.

I never liked earth song. History has some very good songs but for me, it's Michael Jackson's worst album (excluding Blood on the Dance Floor).

Earth Song is a great, powerful song with a great video. I just never liked how it was performed. It's hard to listen to it and not think of Michael stopping a tank or a flower in the barrel of a gun. That took away from the song itself.

Marrk said:

EmmaMcG said:

aiden said: I never liked earth song. History has some very good songs but for me, it's Michael Jackson's worst album (excluding Blood on the Dance Floor).

Earth Song is a great, powerful song with a great video. I just never liked how it was performed. It's hard to listen to it and not think of Michael stopping a tank or a flower in the barrel of a gun. That took away from the song itself.

Really I thought that was an extremely powerful image of him standing front of tank pointing towards the audience.

heathilly said:

Marrk said:

Earth Song is a great, powerful song with a great video. I just never liked how it was performed. It's hard to listen to it and not think of Michael stopping a tank or a flower in the barrel of a gun. That took away from the song itself.

Really I thought that was an extremely powerful image of him standing front of tank pointing towards the audience.

If not a little corny. To me the title track is one of the best songs from History.

it's all about "Morphine" over here for the past few days. once in a while i revisit this track
and just play the absolute shit out of it for a few weeks until i can't hear it anymore

IstenSzek said:

it's all about "Morphine" over here for the past few days. once in a while i revisit this track
and just play the absolute shit out of it for a few weeks until i can't hear it anymore

I wish he would have gone in this direction with his music. That bridge, with the piano, is just heaven to my ears.

I like the exprimental era of History and blood on the dance floor

214 said:

IstenSzek said:

it's all about "Morphine" over here for the past few days. once in a while i revisit this track
and just play the absolute shit out of it for a few weeks until i can't hear it anymore

I wish he would have gone in this direction with his music. That bridge, with the piano, is just heaven to my ears.

it's so good! and then when it goes back into the main portion of the song with that "OOOH"

IstenSzek said:

214 said:

I wish he would have gone in this direction with his music. That bridge, with the piano, is just heaven to my ears.

it's so good! and then when it goes back into the main portion of the song with that "OOOH"

Exactly, one of his best songs.

Remembering The Michael Jackson And Madonna Duet That Almost Happened:The saga of MJ's 1991 hit "In The Closet." http://genius.com/a/remem...t-happened

214 said: