Michael Jackson Michael Jackson/Bad Sessions Vol.8

The Bad album was produced from January 1985 to January 22, 1987. However, as production was about to begin, producer Quincy Jones was forced to take a break due to depression caused by adrenal syndrome. Nevertheless, Michael embarked on the monumental challenge of a sequel to the best-selling album of all time. Michael disappeared from the public eye, retreated to his mansion in Hayvenhurst, California, and began the work without Quincy's presence. This was also at Quincy's strong request. He encouraged Michael to take a more leading role in the album, and to write the songs himself, instead of relying on other composers for his previous albums, Off The Wall and Thriller. Worried that the public still considered these albums to be Quincy's work, Michael was determined to prove that he was not just a song-and-dance guy, but that he could also write and produce. Using his Synclavier system, a super-high-end workstation with state-of-the-art synthesizers and samplers capable of reproducing the sounds of almost any musical instrument, Michael began to vent his anger and frustration over his feud with his brothers (his decision not to record or tour with them again had soured their relationship), social issues, feelings of alienation, and his portrayal in the media, which had hit rock bottom as he vowed not to give any interviews, claiming he had been misrepresented in the past. After finishing filming Captain EO in August 1985, Michael began working on songs at Hayvenhurst with his "B-Team," which consisted of Bill Bottrell, John Burns, Matt Forger, and Christopher Carell. By the time Quincy returned in August 1986 and production began in earnest, Michael had written and recorded over 60 songs for the album. On August 4th '86, across town at Westlake Recording Studios, Quincy Jones' main "A-team" including sound engineer Bruce Swedien officially began work. Quincy fostered a friendly competitive spirit to get everyone to perform at their best. Now, having spent almost a year developing songs and being reasonably satisfied with them, Michael was ready to begin honing the sound of the album tracks. He gained new confidence as he experimented with the lower range of his vocals and the timbre of the Synclavier. "Speed ​​Demon" was first recorded as a demo at Hayvenhurst on June 18th '86, and another more mature demo was recorded between November 18th and December 12th of the same year. The album version was recorded between March and June 15th '87. Quincy Jones, who wrote the song with Michael, said he came up with the idea after Michael was pulled over for speeding. This song was the first song with a concept that continued into "Liberian Girl". "Speed ​​Demon", characterized by pulsating percussion and bass line, is one of the most prominent examples of the technique called "Sonic Fantasy" used throughout the album. This is a technique that incorporates sound effects such as the sound of an engine revving up and a motorcycle speeding to give the listener an experience of visualizing the music. The demo recorded here seems to be quite early, and although the basic rhythm is done, it is a very interesting sound source that gives you a sense of how it is made, giving you a sense of exploring how it will develop. The other is a fan-made demo, which has a different bass line and is interpreted as a presentation of one of many ideas. On July 18, 1986, a demo of "I Just Can't Stop Loving You", the first single from "Bad", was recorded at Hayvenhurst. The demo, including Michael's solo version, has not been leaked. This may be an indication that the song was prepared as a duet with a woman at the time of the demo creation. "Groove Of Midnight" was recorded in September 1986 at Westlake Studios where Quincy and others were. The song was written by Rod Temperton. "Groove Of Midnight" would later be included on the 1988 album "Kiss Of Life" by Saida Garrett, who was one of Quincy's protégés and would duet with him on "I Just Can't Stop Loving You". Matt Forger said that there was no version of this song with Michael's vocals in the song archives. However, a recording of Michael humming the song with a piano in the background while talking with a producer was leaked. That's the demo. And then there's Saida's version. And then there's the Fanmade Demo, which was made by analogy with Michael's demo, which has a different backing from Saida's (i.e. it doesn't have the Rod Temperton feel), and then that instrumental. And then there's the Apple Cider's Remix, which combines Michael's humming with Saida's version. The DJ mix Eulonzo 12" Mix uses a sample of "I Just Can't Stop Loving You". The Complete Version was made by adding Michael's vocals to the Eulonzo Mix using AI. Finally, the AI ​​Version with Michael singing, which was probably made by AI (it doesn't say so, but there is no recording of Michael singing in the first place), is included. Michael and Saida had not yet met at this time (Saida's composition, "Man In The Mirror," was recorded first). Saida's vocals on "Groove Of Midnight" were recorded during the production of her album. In fact, Saida's "Kiss Of Life" includes a song written by Rod Temperton that was not included on the album "Thriller" despite being completed with Michael's vocals, and which may have been considered for inclusion on "Bad." Saida's title was "Baby's Got It Bad," and Michael's was "Got The Hots." This time, we have a duet version of Saida and Michael, which was made possible by Saida's "Baby's Got It Bad" and "Got The Hots". The songs written by Rod Temperton, the main songwriter for "Off The Wall" and "Thriller", were not used in "Bad" because Michael became the main songwriter. In 1985, Michael bought ARV Music Publishing, which was owned by ATV, a British commercial television station, including the copyrights of The Beatles and Little Richard, for $47 million. John Lennon and Paul McCartney were involved in a dispute when Brian Epstein passed away in 1967, and Dick James, the company's largest shareholder, sold his shares to ATW without telling John and Paul, and as a result, Paul McCartney was unable to own the rights to The Beatles' songs. There was certainly a chance to buy them back when John Lennon died. Paul approached John's wife Yoko Ono about buying them together. However, Yoko refused the proposed amount of $20 million, saying it was too high. The deal fell through. Later, Paul told Michael about the importance of firmly owning copyrights during the "Thriller" era, and Michael, understanding this, bought the copyrights to The Beatles, even though it was more than double the price. I wonder if this is the reason why Paul did not participate in "We Are The World". Now, between October 26th and November 17th, 1986, Bill Bottrell and Michael recorded a cover of The Beatles' "Come Together" under the name of co-producer. The Beatles were thorough in crediting John Lennon and Paul McCartney as composers, whether it was John or Paul who wrote it, or the two of them did as they did in the early days. "Come Together" is credited to John and Paul, but it was written by John Lennon. You can see Michael's reservations about Paul. Although it was not included in "Bad" in the end, it was used in the movie "Moonwalker" on October 29, 1988, and a long version of 5:20 was included in the single "Remember The Time" on January 14, 1992, and a short version of 4:02 was included in the album "HIStory". This time, we assume that the 5:20 version was recorded as a full-length version around this time, and we have included it here. "Streetwalker" began writing in Hayvenhurst on March 23, 1986. The working title at that time was "Florida Groove". Then, recording started again at Westlake Studios on October 8, 1986, and a demo from that time has been leaked. This is the October 1986 Rough Mix. The backing and tempo are reminiscent of "The Way You Make Me Feel". The chorus is not well-formed, and it is clear that it is unfinished. And here is the 1986 Demo - Mix, made in 2016, eight years before the high-quality '86 demo was released, using the demos available at the time. The sound quality of the demos at the time was poor, but the one here is excellent, with horns instead of keyboards, and feels more complete than the rough mix from October. And this is a fan-made demo, but it's quite demo-like. It certainly has an early feel to it. There are versions of "Streetwalker" by Michael in '87 and '88. "Price Of Fame" was to be used in a Pepsi commercial, and recording for the commercial was done on January 11, '87. However, for unknown reasons, it was canceled. However, there is footage of the phantom commercial, and this time we have reconstructed and recorded it from there. 1.Speed ​​Demon (Demo) 3:07 2.Speed ​​Demon (Fanmade Demo) 4:07 3.Groove Of Midnight (Demo) 1:33 4.Siedah Garrett - Groove Of Midnight 4:40 5.Groove Of Midnight (Fanmade Demo) 3:26 6.Groove Of Midnight (Fanmade Instrumental) 3:26 7.Groove Of Midnight (Apple Cider's Remix Feat. Siedah Garrett) 5:21 8.Groove Of Midnight (Eulonzo 12" Mix) 6:36 9.Groove Of Midnight (Complete Version) 4:40 10.Groove Of Midnight (AI Version) 4:39 11.Siedah Garrett - Baby's Got It Bad 4:43 12.Got The Hots (Garrett Mix) 4:23 13.Come Together (Extended Version) 5:27 14.Streetwalker (October 1986 Rough Mix) 6:20 15.Streetwalker (1986 Demo Mix) 16.Streetwalker (Fanmade Demo) 5:01 17.Price Of Fame (Pepsi Version Remaster) 3:18