Its languid, wistful feel is augmented by a lush keyboard bed, airy strings and soulful harmonica. This is a simple but beautiful ballad about singing to keep the blues away. Michael had the freedom to just get the expression out there without thinking, 'Oh, Quincy is going to be judging the vocal, or it has to be perfect.' It's just Michael going for it, experimenting, having fun." 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." Matt Forger:"The thing I love about these demos is the rawness. Some day it would be fascinating for listeners to hear the extended cuts (many of Jackson's songs and demos have longer versions which he often reluctantly trimmed down at Quincy Jones's bequest) as well as its later re-incarnations. A fan favorite (and a song Jackson worked on many years and for which he had great affection), it is an appropriate opener to this collection. 1 hit ballad, "I Just Can't Stop Loving You." You can read that piece here. I wrote an in-depth piece on the making of this infectious, Bossa Nova-styled rhythm track back in June when it was released as a B-side to Jackson's No. What follows is a track-by-track review with additional insights from recording engineer and longtime Jackson friend, Matt Forger: The best of the bunch, for me, is the gorgeous mid-tempo ballad, "I'm So Blue," though a case could easily be made for the edgy rhythm tracks, "Price of Fame" and "Al Capone." Each of these six demos (and two others that had been previously released) contains its own unique imprint-and most importantly, all are 100 percent real, unembellished Michael Jackson. We hear his ideas, his warmth, his pain, his humor, and his energy. What they offer is a more intimate picture of Jackson the recording artist, circa 1985-87. What makes them really special, though, is their authenticity. While the production on a couple of them sounds a bit dated, all have great hooks and choruses. I was struck by how finished and enjoyable they are. Recently I was given an exclusive listen to these never-before-heard demos. Still others were in between." Of these, six demos were chosen for Disc 2 of the forthcoming Bad 25 box set (out September 18). "Some were actually so complete that any other artist but Michael Jackson might consider them finished tracks. "Some tracks we found were very early recordings," says Jackson estate co-executor John Branca.
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Over the past couple of years, under the direction of Jackson's estate, a team has been carefully archiving and digitizing these demos.
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Eleven ended up on the official album, leaving numerous great tracks on the cutting room floor in various stages. It turned out in the interval between Thriller and the official start of the Bad sessions, Jackson had written some 60-70 new songs. It wasn't the only revelation for the crew at Westlake. "At the time, we had no idea the name of the album was going to be called Bad," jokes assistant engineer, Russ Ragsdale. In late 1986, Michael Jackson was pacing in Westlake Audio's Studio D, singing to himself: "I feel so bad, I feel really bad, God music makes me feel good."