filmandmusic
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- Thread starter filmandmusic
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83magic
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I’m back with a few more 
better spoken word intro: ‘p.y.t (pretty young thing)’ or ‘don’t stop til you get enough’?
‘don’t stop til you get enough’ contains the iconic squeal that sets everything off. however, I get that from the single edit, which is the version I listen to. truthfully, I’ve always found the speaking leading up to it to be awkward.. ‘p.y.t (pretty young thing)’ doesn’t waste too much time, and I think it makes more sense overall. it sounds like he’s actually talking to someone. it could be part of a conversation.
better song written for another artist: ‘centipede’ or ‘muscles’?
both songs were inspired by creatures (muscles being a pet snake
), and were hits for other artists (rebbie jackson & diana ross respectively). michael also sang backgrounds on both songs. ‘centipede’, despite being so unusual in terms of subject matter, chord progression and structure, manages to be a catchy pop song. I almost wish michael kept it for himself. I would love to hear a demo of him singing it. I don’t like ‘muscles’ at all..
single sparkly glove or sparkly socks?
I was thinking in terms of the stage. ‘billie jean’ more specifically. I’ve seen the performance without the glove, and it just isn’t that same for me. however, it’s the sparkly socks that make the footwork magical. my eyes are glued to the shoes.
this question gave me the most grief. I don’t know what I was thinking when I wrote it
‘sunset driver’ or ‘behind the mask ‘?
both have that sense of desperation and frustration in the vocals. they were also both recorded during the ‘thriller’ sessions. I chose ‘sunset driver’ because I like the synths and the disco groove. michael sounds way too good for a demo, reaching the highest highs without falsetto. it feels more like a message song. some kind of warning, which makes it more compelling. ‘behind the mask ‘ needed a stronger chorus in my opinion. it’s not advanced enough in its original state. yet it was over produced in its posthumous release.
‘lovely one’ or ‘shake your body (down to the ground)’?
I’m judging these both by their single edits. ‘lovely one’ most likely wouldn’t exist without ‘shake your body (down to the ground)’. I could argue that it’s more advanced in every way, but was it necessary at this point? ‘shake your body (down to the ground)’ was clearly more memorable.. based on how I’m feeling lately, I choose ‘lovely one’. I could change my mind though..
your thoughts @filmandmusic ?
better spoken word intro: ‘p.y.t (pretty young thing)’ or ‘don’t stop til you get enough’?
‘don’t stop til you get enough’ contains the iconic squeal that sets everything off. however, I get that from the single edit, which is the version I listen to. truthfully, I’ve always found the speaking leading up to it to be awkward.. ‘p.y.t (pretty young thing)’ doesn’t waste too much time, and I think it makes more sense overall. it sounds like he’s actually talking to someone. it could be part of a conversation.
better song written for another artist: ‘centipede’ or ‘muscles’?
both songs were inspired by creatures (muscles being a pet snake
), and were hits for other artists (rebbie jackson & diana ross respectively). michael also sang backgrounds on both songs. ‘centipede’, despite being so unusual in terms of subject matter, chord progression and structure, manages to be a catchy pop song. I almost wish michael kept it for himself. I would love to hear a demo of him singing it. I don’t like ‘muscles’ at all..single sparkly glove or sparkly socks?
I was thinking in terms of the stage. ‘billie jean’ more specifically. I’ve seen the performance without the glove, and it just isn’t that same for me. however, it’s the sparkly socks that make the footwork magical. my eyes are glued to the shoes.
this question gave me the most grief. I don’t know what I was thinking when I wrote it
‘sunset driver’ or ‘behind the mask ‘?
both have that sense of desperation and frustration in the vocals. they were also both recorded during the ‘thriller’ sessions. I chose ‘sunset driver’ because I like the synths and the disco groove. michael sounds way too good for a demo, reaching the highest highs without falsetto. it feels more like a message song. some kind of warning, which makes it more compelling. ‘behind the mask
‘ needed a stronger chorus in my opinion. it’s not advanced enough in its original state. yet it was over produced in its posthumous release.‘lovely one’ or ‘shake your body (down to the ground)’?
I’m judging these both by their single edits. ‘lovely one’ most likely wouldn’t exist without ‘shake your body (down to the ground)’. I could argue that it’s more advanced in every way, but was it necessary at this point? ‘shake your body (down to the ground)’ was clearly more memorable.. based on how I’m feeling lately, I choose ‘lovely one’. I could change my mind though..
your thoughts @filmandmusic ?
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