Man in the Music
Page 47
“Someone in the Dark”
E.T.: The Extra Terrestrial Storybook (1982)
Status: Released
After seeing an advance screening of E.T.: The Extra Terrestrial, Jackson fell in love with the movie and its alien protagonist. “He and I are alike in many ways,” the singer reflected. Spielberg agreed. “If E.T. didn’t come to Elliot’s house,” proclaimed the director, “he would have come to Michael’s.”
Composed by Rod Temperton, along with veteran songwriters Alan and Marilyn Bergman, “Someone in the Dark” was a moving, melancholy ballad that bookended the E.T. Storybook, which Jackson narrated. That storybook, while creating a number of logistical and legal obstacles during and after the recording of Thriller, won Jackson a Grammy Award for Best Recording for Children in 1984. “Of all the awards I’ve got now,” Jackson said upon receiving the award, “I’m most proud of this one, honestly.” In addition to being featured on the E.T. Storybook, the song was released on Michael Jackson: The Ultimate Collection in 2004.
“State of Shock”
The Jacksons’ Victory (1984)
Status: Released
The original “State of Shock” was recorded with Queen front man Freddie Mercury in 1983 along with two other songs: “Victory” and “There Must Be More to Life Than This.” Initially, none were released. “We had three tracks in the can,” confirmed Mercury in the mid-’80s, “but unfortunately they were never finished. They were great songs, but the problem was time—as we were both very busy at that period. We never seemed to be in the same country long enough to actually finish anything completely.”
Jackson and Mercury’s friendship went back years. The artist was a big fan of Queen, often attending their concerts and talking to the band after the shows. According to Mercury, he even helped inspire one of their hit songs, “Another One Bites the Dust,” released on the 1980 album The Game. “Credit for the song should go to Michael Jackson in many ways,” said Mercury. “He was a fan and friend of ours and kept telling me, ‘Freddie, you need a song the cats can dance to.’ John [Deacon] introduced this riff to us during rehearsal that we all immediately thought of [as] disco, which was very popular at the time. We worked it out and once it was ready, played it for Michael. I knew we had a hit as he bobbed his head up and down. ‘That’s it, that’s the gravy. Release it and it will top the charts,’ he said. So we did and it did.”
The version of “State of Shock” that was ultimately released was a collaboration between Jackson and Rolling Stones front man Mick Jagger. According to Mercury, Jackson had called him to check if he was available before proceeding. Mercury, however, was on tour with Queen and couldn’t return in time to record it. Jackson and Jagger recorded the duet at A&R Studios in New York City. According to those involved, the chemistry was a bit strained; Jagger said he simply followed Jackson’s lead. What was the experience like, Jagger was later asked: ‘‘Quick. He had the two of us practice scales for two hours and then we recorded the vocals in two takes.”
The song nonetheless became Jagger’s biggest hit outside the Rolling Stones, peaking at #3 on the Billboard Hot 100 in the summer of 1984. The guitar-driven song was undoubtedly the highlight of the Jacksons’ disjointed 1984 album, Victory.
“Tell Me I’m Not Dreaming”
Jermaine Jackson’s Dynamite (1984)
Status: Released
“Tell Me I’m Not Dreaming” was a Jermaine Jackson composition for his 1984 album, Dynamite. “The moment I started humming the melody,” said Jermaine, “I knew exactly whose voice was needed for this duet.” He called up Michael, and within days the brothers were in the studio together. “I laid down my verse and he produced me, then vice versa,” recalled Jermaine. While both thought the song had strong potential, Michael’s record company (CBS/Epic) ended up blocking it from being released as a single over concerns that it might compete with his next album (Bad). Still, the song was performed on the Jacksons’ Victory Tour and received significant airplay on radio, reaching #1 on the Dance chart in the summer of 1984.
“The Man”
Paul McCartney’s Pipes of Peace (1983)
Status: Released
The second of two songs recorded by McCartney and Jackson in 1981, “The Man” is a breezy, melodic pop song about a man ready to break out of his prescribed role. The song was featured on McCartney’s 1983 album, Pipes of Peace, but (like “Tell Me I’m Not Dreaming”) was vetoed as a single by CBS/Epic over concerns that it would compete with Thriller.
“There Must Be More to Life Than This”
Collaboration with Freddie Mercury
Status: Unreleased
Perhaps the best of the three songs Jackson worked on with Queen front man Freddie Mercury, “There Must Be More to Life” was an outward-looking anthem that highlights the soaring vocals of two of the greatest singers of all time. The song originated in 1981 during Queen’s Hot Space sessions. It is unknown if Jackson and Mercury discussed or worked on the song that year. The piano-based demo was recorded at Jackson’s home studio in the summer of 1983. Unfortunately, due to scheduling conflicts, the track was never completed.
“Torture”
The Jacksons’ Victory (1984)
Status: Released
“Torture” was the second single released from the Jacksons’ 1984 album, Victory. Another duet with brother Jermaine, the song is a rocking synth pop cut (with some pretty cringe-worthy lyrics and production). It became a Top 20 hit in late 1984, but is perhaps most memorable for its bizarre music video in which a wax-figure dummy of Michael stood in for the actual artist (who declined to be involved due to other commitments).
BAD ERA
“Abortion Papers”
Bad outtake
Status: Released
Had this song been released when it was completed, Jackson wouldn’t have been the only pop star addressing the sensitive subject of abortion on the radio airwaves. Madonna’s “Papa Don’t Preach” was released that same year (1986), and Whitney Houston’s “Miracle” came a few years later. But there’s no question Jackson was concerned about how the song would be received, which is likely why “Abortion Papers” was held back. In his working notes for the track Jackson wrote, “I have to do it in a way so I don’t offend girls who have gotten abortions or bring back guilt trips so it has to be done carefully….I have to really think about it.” The lyrics do approach the subject thoughtfully: rather than writing a political screed, he personalizes it through the story of a conflicted girl, raised in a deeply religious home. The chorus is the voice of her admonishing father.
Jackson wrote the song and recorded it with Brian Malouf (a recording engineer and mixer who would later work for Madonna, Queen, and Pearl Jam, among others), after a session with his brothers for the Victory album. “Abortion Papers” was ultimately released on disc 2 of Bad 25.
“Al Capone”
Bad outtake
Status: Released
The song that eventually evolved into “Smooth Criminal,” “Al Capone” might have been a hit on its own—it features fantastic falsetto harmonies and a memorable hook. The lyrics are related to but completely distinct from “Smooth Criminal.” In this song, the protagonist is furious that the killer has escaped (“Why did you let him get away?”) and seeks vengeance for the victim. “Al Capone” was released on disc 2 of Bad 25.
“Buffalo Bill”
Victory and Bad outtake
Status: Unreleased
“Buffalo Bill” is the earliest Bad-era demo. In fact, its origins can be traced back to 1983, just after Thriller. Jackson worked on it initially with John Barnes. “ ‘Buffalo Bill’ could’ve been spectacular,” Barnes said. Jackson agreed. In a 1983 home video at Hayvenhurst the artist said of the song, “I hate to say, but I know it’s going to be a hit.
” Indeed, Jackson was so taken by it, he held it back from the Jacksons’ Victory album in 1984. According to Bruce Swedien, it had “a big symphonic opening and a charming melody.” Matt Forger describes it as “an amazing song” that never quite came together. “It went through such contortions and changes and green writes and variations.” The track was inspired by Wild Bill Hickok, a poker player who was shot in the back and became a dime-novel hero. “Buffalo Bill” remains unreleased.
“Cheater”
Bad outtake
Status: Released
Featuring an organ bass, biting vocals, and Jackson’s signature percussive finger snapping, “Cheater” is one of the best outtakes of the Bad era. The track has a loose, funky, organic feel to it, a trademark of the work he was doing in the “Laboratory” at Hayvenhurst. Jackson worked on the song during the later Bad sessions with Bill Bottrell and Greg Phillinganes. It features some pointed lyrics about exploitation, including the line “Just sign your name on the line, baby, I own you.” The 1987 demo was released on Michael Jackson: The Ultimate Collection in 2004.
“Chicago 1945”
Bad outtake
Status: Unreleased
Jackson originally worked on “Chicago 1945” with Steve Porcaro during the Victory sessions in 1984. “I did the music and Michael did the lyrics,” confirmed Porcaro. “He recorded the song twice, but never put it on an album.” The song is often mistakenly conflated with “Al Capone” and “Smooth Criminal,” but it is entirely distinct. With a memorable hook and story (and a complete vocal), it is one of the better outtakes from the Bad era. Jackson revisited the song during the HIStory and Invincible sessions, but as yet it remains unreleased.
“Crack Kills”
Bad outtake
Status: Unreleased
“Crack Kills” has long been part of Michael Jackson folklore. Did the pop star actually record a song with Run-DMC at the peak of their popularity? Unfortunately, he did not. But Jackson’s demo does exist. The artist wrote the lyrics and recorded the song with a full vocal in November 1986 and returned to it in early 1987. But he couldn’t quite figure out how to incorporate Run-DMC onto the track. Ultimately, while they met twice and tried to make it work, the track never came to fruition and remains unreleased.
“Do You Know Where Your Children Are”
Bad outtake
Status: Released
Jackson worked on “Do You Know Where Your Children Are” with John Barnes and Bill Bottrell in May 1986. The guitar riff was played by longtime MJ guitarist David Williams. The title refers to a famous public service announcement that ran on television from the 1960s to the 1980s, often just before the nightly news. In a note, Jackson wrote of the inspiration of the song: “Song is about kids being raised in a broken family where the father comes home drunk and the mother is out prostituting and the kids run away from home and become victims of rape, prostitution, and the hunter becomes the hunted.” The original demo was released on Xscape in 2014.
“Don’t Be Messin’ ’Round”
Bad outtake
Status: Released
In a 2009 interview, legendary recording engineer Bruce Swedien cited “Don’t Be Messin’ ’Round” as one of his favorite unreleased Jackson songs. “It’s just beautiful,” he said. “Oh my God, there’s nothing like it.” The world finally got to hear that song in 2012 when it was released on disc 2 of Bad 25. An infectious, Bossa Nova–styled rhythm track, “Don’t Be Messin’ ’Round” was first written and recorded during the Thriller sessions with engineer Brent Averill.
Jackson developed it further with Bill Bottrell during the early Bad sessions. With what sounds like a windup clock, Jackson stacks layer upon layer of rhythm, creating a busy but joyful sound. “It’s such a catchy underlying melodic hook,” Matt Forger said. “And it has a rhythmic feel that syncopates in such an interesting fashion.”
Forger helped prune down Jackson’s characteristically long (eight-minute) demo for its posthumous release, but retained its unfinished charm, which includes Jackson giving instructions, vocally dictating instrumental parts, scatting, and ad-libbing many of the unfinished lyrics. “You can just hear him having fun,” said Forger. “His spirit and emotion are totally there.”
“Eaten Alive”
Diana Ross’s Eaten Alive (1985)
Status: Released
Jackson cowrote “Eaten Alive” with Barry and Maurice Gibb from the Bee Gees for Diana Ross’s 1985 album of the same name. Jackson had written “Muscles” for Ross in 1981. For “Eaten Alive,” he also sang the chorus. The song was released as a single in the fall of 1985, but stalled at just #77 on the Billboard Hot 100 (though it did crack the R&B Top 10).
“Fly Away”
Bad outtake
Status: Released
Jackson wrote and recorded “Fly Away” in April 1986. It was eliminated from the final lineup for Bad during the Westlake sessions. Jermaine Jackson cites “Fly Away” as one of his favorite songs by his younger brother. It’s easy to see why. The song is gorgeously produced, featuring sublime vocals and a catchy chorus. Michael later gave it to his sister Rebbie to rerecord with his background vocals for her 1998 album, Yours Faithfully. His version was released on the 2001 special edition of Bad and on disc 2 of Bad 25.
“Free”
Bad outtake
Status: Released
Jackson worked on “Free” with Bill Bottrell in March 1986. While it was never seriously considered for Bad, it captures the carefree spirit of the B-Team sessions. “Free, free like the wind blows,” Jackson sings in the breezy ballad. “Michael just shines through,” said Forger. “It’s just an uplifting tune. It’s a ditty. It just makes you smile. It just rides on an emotion. It’s so present.” “Free” was released on disc 2 of Bad 25.
“Get It”
Stevie Wonder’s Characters (1987)
Status: Released
A funky duet with Stevie Wonder, “Get It” was Jackson’s return favor for Wonder’s appearance on “Just Good Friends,” which appeared on Bad. “Get It” appeared on Wonder’s 1987 album, Characters. While the song is not now widely known, it reached #4 on the R&B chart when it was released.
“I’m So Blue”
Bad outtake
Status: Released
A wistful, melancholy song about keeping the blues away, “I’m So Blue” was fully produced and mixed in 1986. Jackson worked on the song with Bill Bottrell, John Barnes, and Matt Forger. The song features a lush keyboard bed and soulful harmonica (played by Barnes on a synthesizer). Forger describes it as “kind of a rainy-day song, sit by the fireplace,” with the tonality of Stevie Wonder. The wordless chorus (Sha da da da da da da) is a resigned sigh. Like the bluesmen of old, Jackson takes refuge from his loneliness and sorrow in the music. The song was released on disc 2 of Bad 25.
“Loving You”
Victory outtake
Status: Released
“Loving You” sounds like a Thriller-era demo in the tradition of breezy, mid-tempo tracks like “Baby Be Mine.” But Jackson started this one post-Thriller and continued working on it with John Barnes into the mid-’80s. Jackson first recorded the song at Red Wing Studio before bringing it back to his home studio at Hayvenhurst. The original demo was released on Xscape in 2014.
“Make or Break”
Bad outtake
Status: Unreleased
Jackson worked on this dance track with John Barnes and Matt Forger. According to Forger, it had a “very driving, terrific hook, but never got finished.” “He did a reference vocal, a background vocal, and a reference bridge,” said John Barnes. “It had an opportunity to be innovative, but we didn’t really push it because other tracks took priority.”
“Price of Fame”
Bad outtake
Status: Released
“Price of Fame” is in tune with the darker, more biographical songs on the back end of Bad. “Father always told me you won’t live a quiet life,” he rues, “If you’re reaching for fortune and fame.” The hook contains echoes of the Police’s “Spirits in a Material World,” while the verses recall “Billie Jean.” One can feel the despair in Jackson’s vocal as he describes an increasingly suffocating, impossible existence. Jackson started the song with Bill Bottrell and John Barnes in January 1986. “It came together very quickly and without struggle,” said Bottrell. “It took us about three days.” They returned to the track in 1987, as it was still in the running for the final track list. The song was ultimately cut from the Bad album but was released on disc 2 of Bad 25.