IJCSLY Single with "Don't Be Messin' Round" bonus track [Discussion]

[Eric]

How do you come to this conclusion? It`s Friday June 8, also in Germay. Amazon.de also will deliver for Friday. Some German fans says now they could buy a cd today, but the most stores don`t have it yet.

In the original press release it said June 5th for the USA and June 4th except the USA. I know it's not very specific, but that's what was said in the press release.

 

[8701girl]

looooool Looks like Kermit is getting all the bullets :lol:

Poor kermit

 

[Billyjeanplxiv]

87% of buyers buy MJ

 

[Bernard]

it's 87% of who've viewed the item

 

[Karthik]

Got mine today

 

[PurpleParrot]

Is it June 4th for Canada too?? I called many Walmarts and they heard nothing about this single and don't have it in store...

 

[LLCz]

Is it also $1.88 in stores or is it just online?

 

[Karthik]

Is it also $1.88 in stores or is it just online?

It was just $1.88 at the store

 

[piperdarcy]

I bought two at my Walmart for 1.88 each. Love the demo for "Don't be Messin' Around"! I love hearing Michael's demos--SOOOO much more than refurbished versions of older songs. Love how he says/sings, "Bridge!" Cool song!

 

[SoCav]

Re: IJCSLY Single with "Don't Be Messin' Round" bonus track [Count Down]

I love Don't Be Messin and I love that we got an untouched mix of it! I think the song has more potential than Streetwalker and Cheater, the two tracks it reminds me of most. I am very curious how the song evolved after this Bad era demo.

Is it confirmed that Michael played the piano on this demo that was released? Bruce Swedien was probably talking about a later version, considering he described this song as a ballad.

I too wonder about this. The song Bruce described sounds very different. It could mean that the song changed to a similar extent as the original PYT did, but I guess it is also possible that Bruce just misremembered things or confused DBMA with another song. I have seen him do that before. I remember seeing an interview with him in which he talked about Childhood, saying that Michael cried at the end of every take and that Quincy told him to leave that in. He obviously confused it with She's Out Of My Life. So who knows...

 

[Silouette]

I just bought my copy of the new cd single at Walmart too. Yes, $1.88.
I checked for the MJ Pepsi cans while I was there. Nothing.
I asked the cashier, (cuz I couldn't find a manager) about the cans and she was like :huh:
Nevermind! :lol:

 

[bluesky]

The Story Behind Michael Jackson's Infectious, Newly Released Song

<iframe id="f35ba033b4" name="f209452118" scrolling="no" title="Like this content on Facebook." class="fb_ltr " src="http://www.facebook.com/plugins/like.php?action=recommend&api_key=100770816677686&channel_url=http%3A%2F%2Fstatic.ak.facebook.com%2Fconnect%2Fxd_arbiter.php%3Fversion%3D6%23cb%3Dfceeef72c%26origin%3Dhttp%253A%252F%252Fwww.theatlantic.com%252Ff12b8a0584%26domain%3Dwww.theatlantic.com%26relation%3Dparent.parent&extended_social_context=false&href=http%3A%2F%2Fwww.theatlantic.com%2Fentertainment%2Farchive%2F2012%2F06%2Fthe-story-behind-michael-jacksons-infectious-newly-released-song%2F258115%2F&layout=button_count&locale=en_US&node_type=link&sdk=joey&send=false&show_faces=false&width=130" style="position: absolute; overflow: hidden; height: 19px; width: 130px; border-style: none; "></iframe>JUN 5 2012, 12:57 PM ETThe demo of "Don't Be Messin' 'Round" is among dozens of unreleased tracks from the Bad sessions, and provides insight into King of Pop's songwriting and recording process.

AP Images​

It's been 25 years since Michael Jackson was in Westlake Studio in Los Angeles putting the finishing touches on his classic 1987 album, Bad. Today, a demo of a never-before-heard song from those sessions will finally get an audience when Sony's re-release of Bad's original lead single, "I Can't Just Stop Loving You," hits Wal-Mart shelves. The B-side, an infectious rhythm track called "Don't Be Messin' 'Round," provides a glimpse into Jackson's creative process&#8212;and to his incredible profligacy as a songwriter.

<iframe width="100%" height="166" scrolling="no" frameborder="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F48277703&show_artwork=true"></iframe>

Jackson had a habit of writing and recording dozens of potential songs for each new project. This was especially the case for the Bad era, a prolific period in his career. At one point, he considered making Bada triple-disc album given the amount of quality material. So it's fitting that later this fall, Sony Music and Jackson's estate will put out a full album of previously unreleased material from the Bad sessions. While the track list has not yet been finalized and will not be made public until closer to the September 18 release date, more than 20 new, unheard demos from the Bad sessions are currently being considered for the album. The songs being evaluated include a number of real gems and a few titles previously unknown to the most ardent Jackson aficionados.

Jackson would pull out the song again during both the 'Dangerous' and 'HIStory' sessions. Clearly, it was a song he liked. But it never found a home.​

A team of Jackson collaborators and caretakers&#8212;including estate heads, Sony VP John Doelp, producer Al Quaglieri (who oversaw the excellent 2004 box set,Michael Jackson: The Ultimate Collection) and recording engineer, Matt Forger&#8212;combed through the vaults to see what was viable for the Bad 25 release. The criteria used for identifying potential songs were simple: They had to be recorded during the Bad era (1985-1987), and they had to be developed enough to feel like a complete track.

The Michael Jackson estate and Sony Legacy are leaving Jackson's work raw and unembellished this time around, in contrast to the King of Pop's first posthumous album, 2010's controversial Michael. The tracks will thus be less polished but more authentic, organic and true to what Jackson left behind. Similar to the critically acclaimed 2009 documentary, This Is It, the goal is to provide an intimate glimpse of the artist in his element. The listener, in essence, is brought into the studio with Michael Jackson as he works out a variety of musical ideas in his follow-up to the best-selling album of all time.

"Don't Be Messin'" illustrates this concept well. In the track, we can hear Jackson giving instructions, vocally dictating instrumental parts, mapping out where to accent words or add percussion, scatting and ad-libbing many of the unfinished lyrics. "One of the main intentions is to show that these are works in progress," says Matt Forger, a sound engineer and longtime Jackson friend and collaborator. "To pull the curtain back. To actually see Michael in his natural work environment, how he directs, his sense of humor, his focus."

The finished product, then, is intentionally unfinished and spontaneous. "You can just hear him having fun," Forger says. "His spirit and emotion are totally there. He knew in demos he didn't have to be totally perfect in his execution. So he'd be loose. He'd throw in ad libs and dance or sing or pop his fingers or clap his hands. You just hear him enjoying himself."

Jackson first wrote and recorded "Don't Be Messin'" during the Thriller sessions with engineer Brent Averill. Around this time he was working on a variety of musical ideas, including demos of "P.Y.T." and "Billie Jean." "Don't Be Messin'" features Jackson himself playing piano ("He could do more than he ever really let people know," Forger says.) He also produced, arranged, and guided many of the instrumental parts, including the cinematic strings, Jonathan Maxey's piano part in the bridge, and David Williams funky guitar licks.

Ultimately, since "Don't Be Messin'" wasn't fully developed and so much other strong material was coming in for Thriller, Jackson decided to put the song on the back burner, having in mind to revisit it for his next album. "That was kind of how Michael developed ideas and songs," explains Forger. "He let the song unfold in its own time. Sometimes a song wasn't ready or didn't quite fit the character of an album or a project and it would stay in the vaults. And then at a certain point of time, he would pull it out again."

In this case, the track re-surfaced in 1986, during the early stages of the Bad sessions. Jackson worked on the song primarily with recording engineers Matt Forger and Bill Bottrell in the "laboratory," the nickname for his renovated home studio at Hayvenhurst. As was typical for Jackson rhythm tracks, the song was quite long (nearly eight minutes) in its early phases. "Michael loves a song to be long," Forger says. "He loves it to groove because he gets to dance to it&#8212;which is a big thing, because when Michael feels the music is making him dance it means the groove is in the pocket."

Jackson's grooves, however, were unusual in that they often lacked the predictable repetition of much dance music, surprising with strange beat patterns, textures and nuances. "Some of these long versions of ["Don't Be Messin'"] really sound very interesting because there's different things happening in different sections," Forger says. "It's really not like you're sitting there for eight minutes thinking it's terribly long, because things are happening within that length of time that make it feel like, 'Yeah, this is cool.' It's actually satisfying to listen to the rhythm."


Cutting the song down was often a brutal process for Jackson, especially the intros and outros. As with other songs on Thriller and Bad, though, Jackson tried to trim it down into the four-to-five minute range, which is where the new mix of "Don't Be Messin'" clocks in.

Jackson continued to work on "Don't Be Messin'" into late 1986, at both his home studio and at Westlake. However, once Quincy Jones came on board, the serious paring began and "Don't Be Messin'" was left on the cutting room floor. Jackson would pull out the song again during both theDangerous sessions and HIStory sessions, updating its sound and adding new elements. Clearly, it was a song he liked. But ultimately it never found a home.

The version Matt Forger mixed was the last version Jackson worked on during the Bad sessions in 1986. Forger feels it is the purest, most emotionally satisfying version: "It's exactly how Michael dictated it at the time. It's precisely Michael saying, 'this is how it has to be.'"

The 1986 demo isn't a groundbreaking song. The vocal is only partial-strength, the lyrics aren't finished, and the production isn't close to what it would be had it been fully realized by Jackson and Quincy Jones. However, it is a solid addition to the growing list of quality Bad-era outtakes (a list that also includes "Streetwalker," "Fly Away," and "Cheater"). "It's such a catchy underlying melodic hook," Forger says. "And it has a rhythmic feel that syncopates in such an interesting fashion." In a 2009 interview legendary recording engineer Bruce Swedien cited the track as one of his favorite unreleased Jackson songs. "It's just beautiful," he said . "Oh my God, there's nothing like it."

Like much of his work, the track doesn't fit neatly into a single genre, fusing flavors of Latin, jazz, and pop. With its breezy Bossa Nova rhythm and layers of interwoven hooks, it is a song that easily gets stuck in the head and makes you want to move&#8212;yet it also rewards multiple listens with its sophisticated syncopation and complex rhythm arrangement ("Music is like tapestry," Jackson once said. "It's different layers, it's weaving in and out, and if you look at it in layers you understand it better.")

For Forger, working on the track triggered memories of a simpler time in Jackson's turbulent career: "It just brought all the feelings back of what it was like in that era. Michael was just this exuberant, happy person. He wanted to challenge the world and make wonderful, great music."
What was Forger's goal in resurrecting the track?
"Just to make it authentic. Something Michael would enjoy and be proud of. It's got his charm and energy. If people appreciate it and enjoy it for what it is then I'll feel great. All I want it to be is enjoyed for the simple thing that it is."

http://www.theatlantic.com/entertai...cksons-infectious-newly-released-song/258115/

 

[Pentum]

^ interesting read

... more than 20 new BAD songs?

 

[Memefan]

Please take a minute and leave a comment on his website, so Mr. Vogel knows how much we appreciate his work.

http://www.theatlantic.com/entertai...cksons-infectious-newly-released-song/258115/

 

[Karthik]

So, now that we are all buying this CD, can we expect to make an impact on the Hot 100 chart?

 

[thiron]

Awesome article, just like Vogel's other stuff!
And now we have a number of how many Bad-era outtakes there are: About 20. I'm curious about the amount we will get on the 2nd CD and hope we'll get to hear the latest DBMR version in the future.

 

[piperdarcy]

I would LOVE to hear the eight minute version of DMRA

 

[Hess]

I hope a "final version" of DBMA will also be released. - That way we can see how it developed. If MJ worked on it again for HIStory and maybe even Vince. - Then there must be a more "finished" version available.

Would be intresting to hear in which diretion MJ went with it.

 

[marebear]

I like in the article how it says something like you feel you are in the sessions with Michael and it feels like that. I love hearing it this way as he left it because you feel his presence with you.

 

[dmehta]

I hope a "final version" of DBMA will also be released. - That way we can see how it developed. If MJ worked on it again for HIStory and maybe even Vince. - Then there must be a more "finished" version available.

Would be intresting to hear in which diretion MJ went with it.

Yep, I'd really love to also hear later versions of this song to see what Mike did with it during the Dangerous and History sessions.

 

[Lucilla]

I would LOVE to hear the eight minute version of DMRA

Me too, Michael liked his songs long and I just love that about him
And Wow! 20 demos in that CD? I really hope so!

 

[Pentum]

Me too, Michael liked his songs long and I just love that about him
And Wow! 20 demos in that CD? I really hope so!

Not 20 on a CD, but that there are actually more than 20 BAD era demos laying around to choose from

 

[Lucilla]

Not 20 on a CD, but that there are actually more than 20 BAD era demos laying around to choose from

Oh, yeap I thought it was too good to be true hehe

 

[Pentum]

Oh, yeap I thought it was too good to be true hehe

But if this is true, then I'm really happy to know that there are lots of more MJ songs out there. Over 20 songs from BAD era alone!

 

[Chamife]

Hey, I hear these:

castagnettes

(probably from a machine, but they sound the same)

 

[tricia70]

I bought two at my Walmart for 1.88 each. Love the demo for "Don't be Messin' Around"! I love hearing Michael's demos--SOOOO much more than refurbished versions of older songs. Love how he says/sings, "Bridge!" Cool song!

Ha ha, me too!!

I just bought my copy of the new cd single at Walmart too. Yes, $1.88.
I checked for the MJ Pepsi cans while I was there. Nothing.
I asked the cashier, (cuz I couldn't find a manager) about the cans and she was like :huh:
Nevermind! :lol:

I did the same and didn't see MJ cans yet, but I'll keep checking.

Please take a minute and leave a comment on his website, so Mr. Vogel knows how much we appreciate his work.

http://www.theatlantic.com/entertai...cksons-infectious-newly-released-song/258115/

Thank you, I did. Let's leave more comments for Joe Vogel.

 

[Snow White luvs Peter Pan]

Lucky those ones who already have it, in Mexico it'll bel sold 'til late June! :sigh:

 

[qbee]

Please take a minute and leave a comment on his website, so Mr. Vogel knows how much we appreciate his work.

http://www.theatlantic.com/entertai...cksons-infectious-newly-released-song/258115/

The Story Behind Michael Jackson's Infectious, Newly Released Song By Joseph Vogel
http://www.theatlantic.com/entertai...cksons-infectious-newly-released-song/258115/

Jun 5 2012, 12:57 PM ET

The demo of "Don't Be Messin' 'Round" is among dozens of unreleased tracks from the
Bad sessions, and provides insight into King of Pop's songwriting and recording process.

AP Images​

It's been 25 years since Michael Jackson was in Westlake Studio in Los Angeles putting the finishing touches on his classic 1987 album, Bad. Today, a demo of a never-before-heard song from those sessions will finally get an audience when Sony's re-release of Bad's original lead single, "I Can't Just Stop Loving You," hits Wal-Mart shelves. The B-side, an infectious rhythm track called "Don't Be Messin' 'Round," provides a glimpse into Jackson's creative process&#8212;and to his incredible profligacy as a songwriter.


Jackson had a habit of writing and recording dozens of potential songs for each new project. This was especially the case for the Bad era, a prolific period in his career. At one point, he considered making Bad a triple-disc album given the amount of quality material. So it's fitting that later this fall, Sony Music and Jackson's estate will put out a full album of previously unreleased material from the Bad sessions. While the track list has not yet been finalized and will not be made public until closer to the September 18 release date, more than 20 new, unheard demos from the Bad sessions are currently being considered for the album. The songs being evaluated include a number of real gems and a few titles previously unknown to the most ardent Jackson aficionados.

Jackson would pull out the song again during both the 'Dangerous' and 'HIStory' sessions. Clearly, it was a song he liked. But it never found a home.
​

A team of Jackson collaborators and caretakers&#8212;including estate heads, Sony VP John Doelp, producer Al Quaglieri (who oversaw the excellent 2004 box set, Michael Jackson: The Ultimate Collection) and recording engineer, Matt Forger&#8212;combed through the vaults to see what was viable for the Bad 25 release. The criteria used for identifying potential songs were simple: They had to be recorded during the Bad era (1985-1987), and they had to be developed enough to feel like a complete track.The Michael Jackson estate and Sony Legacy are leaving Jackson's work raw and unembellished this time around, in contrast to the King of Pop's first posthumous album, 2010's controversial Michael. The tracks will thus be less polished but more authentic, organic and true to what Jackson left behind. Similar to the critically acclaimed 2009 documentary, This Is It, the goal is to provide an intimate glimpse of the artist in his element. The listener, in essence, is brought into the studio with Michael Jackson as he works out a variety of musical ideas in his follow-up to the best-selling album of all time.

"Don't Be Messin'" illustrates this concept well. In the track, we can hear Jackson giving instructions, vocally dictating instrumental parts, mapping out where to accent words or add percussion, scatting and ad-libbing many of the unfinished lyrics. "One of the main intentions is to show that these are works in progress," says Matt Forger, a sound engineer and longtime Jackson friend and collaborator. "To pull the curtain back. To actually see Michael in his natural work environment, how he directs, his sense of humor, his focus."

The finished product, then, is intentionally unfinished and spontaneous. "You can just hear him having fun," Forger says. "His spirit and emotion are totally there. He knew in demos he didn't have to be totally perfect in his execution. So he'd be loose. He'd throw in ad libs and dance or sing or pop his fingers or clap his hands. You just hear him enjoying himself."

Jackson first wrote and recorded "Don't Be Messin'" during the Thriller sessions with engineer Brent Averill. Around this time he was working on a variety of musical ideas, including demos of "P.Y.T." and "Billie Jean." "Don't Be Messin'" features Jackson himself playing piano ("He could do more than he ever really let people know," Forger says.) He also produced, arranged, and guided many of the instrumental parts, including the cinematic strings, Jonathan Maxey's piano part in the bridge, and David Williams funky guitar licks.

Ultimately, since "Don't Be Messin'" wasn't fully developed and so much other strong material was coming in for Thriller, Jackson decided to put the song on the back burner, having in mind to revisit it for his next album. "That was kind of how Michael developed ideas and songs," explains Forger. "He let the song unfold in its own time. Sometimes a song wasn't ready or didn't quite fit the character of an album or a project and it would stay in the vaults. And then at a certain point of time, he would pull it out again."

In this case, the track re-surfaced in 1986, during the early stages of the Bad sessions. Jackson worked on the song primarily with recording engineers Matt Forger and Bill Bottrell in the "laboratory," the nickname for his renovated home studio at Hayvenhurst. As was typical for Jackson rhythm tracks, the song was quite long (nearly eight minutes) in its early phases. "Michael loves a song to be long," Forger says. "He loves it to groove because he gets to dance to it&#8212;which is a big thing, because when Michael feels the music is making him dance it means the groove is in the pocket."

Jackson's grooves, however, were unusual in that they often lacked the predictable repetition of much dance music, surprising with strange beat patterns, textures and nuances. "Some of these long versions of ["Don't Be Messin'"] really sound very interesting because there's different things happening in different sections," Forger says. "It's really not like you're sitting there for eight minutes thinking it's terribly long, because things are happening within that length of time that make it feel like, 'Yeah, this is cool.' It's actually satisfying to listen to the rhythm."

Cutting the song down was often a brutal process for Jackson, especially the intros and outros. As with other songs on Thriller and Bad, though, Jackson tried to trim it down into the four-to-five minute range, which is where the new mix of "Don't Be Messin'" clocks in.
<!-- START "MORE ON" BOX WITH IMAGES v. 1 -->

<!-- END "MORE ON" BOX WITH IMAGES v. 1 -->Jackson continued to work on "Don't Be Messin'" into late 1986, at both his home studio and at Westlake. However, once Quincy Jones came on board, the serious paring began and "Don't Be Messin'" was left on the cutting room floor. Jackson would pull out the song again during both the Dangerous sessions and HIStory sessions, updating its sound and adding new elements. Clearly, it was a song he liked. But ultimately it never found a home.The version Matt Forger mixed was the last version Jackson worked on during the Bad sessions in 1986. Forger feels it is the purest, most emotionally satisfying version: "It's exactly how Michael dictated it at the time. It's precisely Michael saying, 'this is how it has to be.'"

The 1986 demo isn't a groundbreaking song. The vocal is only partial-strength, the lyrics aren't finished, and the production isn't close to what it would be had it been fully realized by Jackson and Quincy Jones. However, it is a solid addition to the growing list of quality Bad-era outtakes (a list that also includes "Streetwalker," "Fly Away," and "Cheater"). "It's such a catchy underlying melodic hook," Forger says. "And it has a rhythmic feel that syncopates in such an interesting fashion." In a 2009 interview legendary recording engineer Bruce Swedien cited the track as one of his favorite unreleased Jackson songs. "It's just beautiful," he said . "Oh my God, there's nothing like it."

Like much of his work, the track doesn't fit neatly into a single genre, fusing flavors of Latin, jazz, and pop. With its breezy Bossa Nova rhythm and layers of interwoven hooks, it is a song that easily gets stuck in the head and makes you want to move&#8212;yet it also rewards multiple listens with its sophisticated syncopation and complex rhythm arrangement ("Music is like tapestry," Jackson once said. "It's different layers, it's weaving in and out, and if you look at it in layers you understand it better.")

For Forger, working on the track triggered memories of a simpler time in Jackson's turbulent career: "It just brought all the feelings back of what it was like in that era. Michael was just this exuberant, happy person. He wanted to challenge the world and make wonderful, great music."

What was Forger's goal in resurrecting the track?
"Just to make it authentic. Something Michael would enjoy and be proud of. It's got his charm and energy. If people appreciate it and enjoy it for what it is then I'll feel great. All I want it to be is enjoyed for the simple thing that it is."

 

[tricia70]

The Story Behind Michael Jackson's Infectious, Newly Released Song By Joseph Vogel
http://www.theatlantic.com/entertai...cksons-infectious-newly-released-song/258115/

Great article! and on the money description of the song "Infectious" INDEED!!:chillin::dancin:

 

[CherubimII]

Re: IJCSLY Single with "Don't Be Messin' Around" bonus track [Count Down]

"Don't Be Messening Round" is a "SUPERNATUAL DELIGHT",
just like Michael Jackson.