FREE DL: Michael Jackson’s “P.Y.T. (Pretty Young Thing) (Platurn Edit)”

DJ Platurn said he had done this edit of Michael Jackson’s “P.Y.T. (Pretty Young Thing)” awhile back but chose not to upload it for whatever reason. It seemed it was the perfect time so he now presents it for everyone to stream and listen and perhaps download it for the party in your life. It’s free to download but definitely considering using the “Name Your Price” option to show some support.

VIDEO: Paul McCartney & Michael Jackson’s “Say Say Say (2015 Remix)”

Paul McCartney & Michael Jackson photo PaulMJ_old_zps4jrfnfkq.jpg
It may sound the same at first but take a good listen. While the original begins with Paul McCartney’s voice, Michael Jackson begins the track in this new remix, which was used as part of the remaster of McCartney’s Pipes Of Peace album. The new mix features unused vocal tracks from the original recording sessions. The video is arguably nothing more than a means of promotion and sure, the original can’t be beat but hopefully this description is enough for you to at least take a listen. You can order the new deluxe edition of Pipes Of Peace by clicking the album cover below.

FREE DL: Amerigo Gazaway’s “The Big Payback Volume 3: J​.​B. & The Soul Mates”
Amerigo Gazaway has a way of getting the flavor out of the deepness of music, and he has done it once again by turning James Brown’s music inside out and creating The Big Payback Volume 3: J​.​B. & The Soul Mates, merging JB with Fela Kuti, Jeru The Damaja, Bob Marley, Busta Rhymes, Biggie Smalls Mobb Deep, Michael Jackson, and others. This one is a freebie, so stream and listen, then get to downloading.

AUDIO: Michael Jackson’s “FeelThatBeat (Rock With You Edit)”

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Take a song, turn it inside out, and be able to utilize the ingredients to its fullest potential: it is what someone going by the name of “DJW-Remix” decided to do with this classic from an album that will be celebrating its 35th anniverary this year, Off The Wall. It is a new edit of Michael Jackson’s “Rock With You”, put together as “FeelThatBeat”, done as a means for you and everyone to ride the boogie, you know this is going to do wonders on the dance floor.

VIDEO: Stop-action Lego tribute to Michael Jackson “Thriller”

You have no doubt seen the video for “Thriller” at least once in your life. Ten times perhaps, or maybe it was your daily ritual to watch it as a kid, each time you came home from school. Now, you’re able to watch a different version of “Thriller”, done with Lego. As with the original, none of the Lego pieces in this video endorse a belief in the occult. Thank you.

VIDEO: Michael Jackson’s “Rock With You (Sean Toure’ Remix)”

Rock With You (Sean Toure’ Remix) – Michael Jackson from Todd Kelley on Vimeo.

Sean-Toure’ is on a mission to release a new weekly remix for the next few months of songs by his favorite artists, including Jill Scott, Flying Lotus, Substantial, yuU, Talib Kweli, and others. The first remix out of the box is his version of Michael Jackson’s 1979 classic, “Rock With You”. If you’d like to explore more of Toure”s work, head to his Bandcamp page.

FREE MP3 DL: Michael Jackson’s “Get Down With Your Bad Self (Platurn Blend)”

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Who’s bad? WHO’S BAD? Ask your mama. Ask your father. Ask your sister. Ask me.
In this case, DJ Platurn is bad, feel free to ask him. He put together a nice Michael Jackson edit/blend here, so you better get to this as it will only be up while supplies last, trust me on this. Is that bad? Hold on: WHO’S BAD?

VIDEO: Cody Conner’s “Billie Jean (acoustic cover)”

This video comes from an old friend of mine who posted this on his Facebook and said this is a song by a friend of his. He goes by the name of Cody Conner, who resides in Tacoma, Washington, and so far only has two videos on YouTube, with this being the latest.

When people tend to do Michael Jackson cover versions, fans seem to go two ways:
1) They want it to be faithful to the original
2) If it’s nothing like the original, it will be discarded.

However, one thing I’ve liked about doing a new rendition of a well known song and composition is that by being performed with a new arrangement, including one that may be unexpected, it tends to bring the song a new perspective. Conner is faithful to the song, but he covers it acoustically, does it country style, and while some parts are in the original 4/4 time signature, other sections are in 3/4. It’s a way to look at the lyrics of the original song and say “let’s see where else someone can take this.” Conner takes it to new territory and I feel he has done a very good job at it.


  • There was a bit of news this weekend that talked about hackers allegedly tapping into Sony Music‘s database and uncovering a wealth of unreleased Michael Jackson songs. As someone who has been a part of the digital/online realm for 18 years, I thought it was interesting and exciting, but I also questioned a few things about it.

    Various journalists have mentioned that it was Jackson’s “back catalog”, that it was hacked into and now everyone can hear it. If we are to speak in a legal sense, hasn’t MJ’s entire catalog, including the work he did on Motown on his own and with the Jackson 5, been hacked already? You can do a search and find everything MJ has ever released, tap into the link and go. That of course is not why this story is getting attention. The heart of the matter is that what was allegedly stolen includes unreleased material, and that has made music fans hungry for the contents of the files.

    This is what I truly question the most about this hacking story. Are Sony actually making it possible for anyone and everyone to tap into their system for a complete free for all? Why are any digital audio files linked to anyone outside of Sony? Shouldn’t those files be on a hard drive that is completely cut off from the rest of the world, or is there a loophole in the system that makes it possible for anyone and everyone to find out what lurks? If Sony indeed was hacked, why just MJ’s work? Sony owns the entire Columbia Records discography, which goes as far back as 1888 when the label started. Do the quick math, that’s 124 years of sound to tap into. According to their Wikipedia entry, Columbia is “is the oldest brand name in pre-recorded sound”. This is a label that gave the world music by Johnny Cash, Miles Davis, Earth, Wind & Fire, Chicago, Charles Mingus, Duke Ellington, Dave Brubeck, Bruce Springsteen, and Bob Dylan, and yet you’re telling me only MJ was of interest?

  • Let’s go back and think about someone with a bootlegging mentality. If you know there’s a demand for an artist’s music, you’re going to find anything and everything to release. Live recordings, private demos, unreleased tracks, whatever. If it’s worthy, you’re going to get it. Put that in your private vaults and find a way to release it, even if there are consequences. Bootleggers exist to fulfill the wants and desires of the diehard music fan who has to hear anything and everything, flaws and all.

    If you’re going to tap into an audio archive like Sony’s, why stop with just Michael Jackson? 50,000 files were said to have been stolen. That doesn’t mean Jackson had 50,000 songs recorded, completed, unfinished, or whatever, it might mean different vocal tracks, background vocals, drums, sound effects, guitars, or pre-sets, sound effects, and filters. Any music producer with a sense of search engine know-how can find any and all of these sound effects and filters for free, and obtaining them will not make anyone magically sound like Jackson, just as finding filters similar to the amps and equipment the Beatles used will not make your music sound like Side 2 of Abbey Road. Are these files of any real value? If not, why bother with those files when you could have tapped into whatever else was lurking on Sony’s hard drive?

    Record labels have been digitally archiving their tape library since the 1980’s, updating files with the latest in digital technology. How something was archived in 1989 is not going to be the same as one did it in 2009. What’s being archived? Master tapes for completed projects, and whatever else might be of interest to the label, basically the “intellectual properly” and “real estate” owned by the company. Many labels used to own their own recording studios, so if an artist made a few albums for label X, that would also include the multitrack tape, anywhere from 4 to 8 track, 16 to 24, 48 to 96, and digital files where there’s no limit on how many elements you want to include. For the most part, these multitracks are never made available to the general public, for it would serve no reason for anyone to hear them. In the last 10 years, as producers request to do remixes, new mixes of songs are created for movies and television, and video games like Rock Band are required to use technology similar to hearing isolated audio tracks for a specific reason, people outside of music junkies are aware of them. Some of them have leaked onto the internet, but with those available on video games, all it takes is someone who knows how to extract the audio, and it’s now possible to make your own mixes of classic songs, or to create your own music from isolated vocals, bass, guitar, drums, and create songs “featuring” someone who has been dead for 40 years, or to make some interesting mash-ups. It also allows a chance for the music fan to strip a song to the isolated element of interest. You just want to hear Stevie Wonder‘s “Superstition” with just his vocals, the synth bass, and drums? You can do that with a bit of know-how and the right audio program.

  • Bootleggers are the villains of the industry, but are the heroes for music fans. It is also a huge security risk, but then again, didn’t Sony have hacking issues with Playstation 3? For gamers, hacking Sony to obtain audio files that are meant to be private is not a surprise. It leads me to the reason I’m writing this. If it is “that easy” to hack into Sony and obtain things, why stop with Michael Jackson? I’m not advocating anyone to attempt to do this, and who knows, maybe this hacking for MJ tracks is a promotional tactic meant to draw attention to a forthcoming compilation of this unheard material. But, Dear Sony Hackers: if you are planning on tapping into their database again, please try to find the following:

    1) all quadraphonic pressings of albums, both those that were done for vinyl, and the 4.0 mixes released on 8-track. I would also like to have any unreleased quad album mixes or songs that were created but not used.
    2) all radio spots created for albums between 1955-1985.
    3) If any part of Miles Davis’ library is still in your hands, any and all live recordings done for official release, but were canceled.
    4) any and all classical, neo-classical, and minimalist projects you did in the late 60’s/early 70’s but were not released.
    5) any and all live recordings and radio sessions from outside labels, but were sent to Columbia/CBS for mastering, but were “lost” there. Let’s uncover the goods.
    6) dig up everything ever done by Philadelphia International and T-Neck
    7) Is this only exclusive to Sony US? If not, I’d like for someone to tap into the UK, Europe, and Japan databases to find any and all jazz, prog rock, and soundtracks that have not been released since their initial release on vinyl.
    8 ) who owns the Sesame Street masters? Sesame Street did a number of projects for Columbia, and I want anything and everything that has not been released. I want to hear the voices of Big Bird, Oscar The Grouch, Bert & Ernie break out of character so I can hear them swear.
    9) are there any unreleased/unknown material from Def Jam that remain in your hands, after they moved to PolyGram, now Universal? I would assume Def Jam have their vaulted monitored very well, but if not, I would like someone to locate everything that has never been heard: alternates mixed, flubbed vocal tracks, all of it.

    On the top of my list is this:
    10) I would like for someone to tap into the entire database of Earth, Wind & Fire recordings. Full albums, multitracks, radio spots, live performances like the one done for King Biscuit Flower Hour, demos, unreleased tracks, session work done by Tom Tom 84 and Kalimba Productions, I want to hear all of it. Make it happen.

  • It’s amazing how a tape vault can remained solid and locked from the world for decades. Once the contents of those vaults are digitized, one foolish decision to place those files on a hard drive available to the public in a manner that allegedly makes a hacker tap into the system to hear it shows you the holes of an industry that, for some, has been flawed from the start. Labels insist that they are there to protect their properties, and yet this is far worse. No one has to walk into a physical room to find the goodies. It’s just a bit of technical know how and boom: unreleased Michael Jackson music. I’ve said it before: it seems the bootleggers are better at archiving the legacy of an artist than the record label that owns their recordings, or the artist that sometimes isn’t aware of the value of their music, with all of the mistakes. If this story about the MJ recordings being hacked is indeed true, I’m curious to see how it will be distributed, if at all. A bigger question: who’s next? The music industry has no plans on being “open source”, while a younger generation of fans, artists, and producers are using the open source mindset as a lure towards making better money and arguably better music. Is Hollywood next, or are movie directors smart to not place their project footage on an easily accessible hard drive? The night is young.
  • VIDEO: Barry Gibb reveals footage of 2002 recording session with Michael Jackson

    Everyone has at least one favorite Bee Gees song. Everyone has at least one favorite Michael Jackson. Despite how big these artists were, there had never been a collaboration between the two. Or so we thought.

    Bee Gees vocalist Barry Gibb has released video footage of a recording session he did with Jackson back in 2002, for a song called “All In Your Name” that eventually went unreleased. Gibb was recently quoted as saying “This experience i will treasure forever.” Gibb would like for the world to hear the song, but as of now, there are no plans for its proper release, which probably means it would be up to the MJ camp to figure out if and when it will be heard. My guess: if it is released, you’ll hear about it in a compilation album to be released during the holidays, a perfect “stocking stuffer” if you will. For now, have a look and listen to this excerpt from that session.